1
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["Turn, Turn, Turn" by The Byrds]

2
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[door opens, bell rings]

3
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TOM PETTY:
Too many variations of shit.

4
00:00:19,645 --> 00:00:22,183
- That's a Fender amp.
- Mm hmm.

5
00:00:22,189 --> 00:00:26,183
I wouldn't recognize that one,
Bassbreaker 45.

6
00:00:26,944 --> 00:00:28,651
JAKOB DYLAN: I have
a good question for you, though.

7
00:00:28,654 --> 00:00:31,271
In the 80s it was...
we said "Rickenbacher".

8
00:00:31,281 --> 00:00:32,738
- You guys all say Rickenbacker.
- "Rickenbacker"

9
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- It's "backer".
- Yeah.

10
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We already had a small debate earlier.

11
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We were from the South.

12
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- It's "backer", yeah.
- I think so.

13
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There's no "bachers." No.

14
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PETTY: Is that one yours, Jakob?

15
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DYLAN: No, we used this one
on the record, though.

16
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- REPAIRMAN: This is Andy's.
- Yeah, that's Andy's.

17
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- DYLAN: Want to have a look?
- PETTY: Bring it over here.

18
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[guitar amp hums]

19
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[strums guitar]

20
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This was the folk rock special.

21
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All you had to do
is move your little finger.

22
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[strumming melody]

23
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- You can't afford the rest.
- [Jakob chuckles]

24
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["Bells of Rhymney"
performed by Jakob Dylan]

25
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<i>♪ Oh, what will you give me? ♪</i>

26
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<i>♪ Say the sad bells of Rhymney ♪</i>

27
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<i>♪ Is there hope for the future? ♪</i>

28
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<i>♪ Say the brown bells of Merther ♪</i>

29
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<i>♪ Who made the mine open? ♪</i>

30
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<i>♪ Say the black bells of Rhonda ♪</i>

31
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<i>♪ Ah... Ah... ♪</i>

32
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<i>♪ Ah... Ah... ♪</i>

33
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["Wild Mountain Thyme" by The Byrds]

34
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<i>♪ Oh, the summer time is coming ♪</i>

35
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<i>♪ And the leaves are sweetly turning ♪</i>

36
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JACKSON BROWNE:
They gave it the name Laurel Canyon

37
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because it was the locus
for all these musicians.

38
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It's where a lot of musicians lived.

39
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But they came to L.A. from everywhere.

40
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They came from England
and from all overAmerica.

41
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And probably because
of the record companies in L.A.

42
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They had to come to L.A.
and this was the one place

43
00:03:01,890 --> 00:03:04,678
that you could live
and it was the antithesis

44
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of this sort of plastic, straight world

45
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that you saw on television.

46
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[sweeping music]

47
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LOU ADLER: To be that close
to the Sunset Strip

48
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and yet you had a feel
that you were in the country

49
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and, you know,
and totally different feel. It's beautiful.

50
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["Expecting To Fly" by Buffalo Springfield]

51
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<i>♪ There you stood on ♪</i>

52
00:03:32,796 --> 00:03:36,005
<i>♪ The edge of your feather ♪</i>

53
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<i>♪ Expecting to fly ♪</i>

54
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DAVID CROSBY: I think I might
have been the first one to move there.

55
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I was living in one place, some...
some place way up the canyon.

56
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ROGER McGUlNN: There was
a lot of camaraderie in the bands.

57
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We got to know Brian Wilson
and The Beach Boys

58
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and, of course, The Mamas & Papas

59
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when they came along.

60
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I'd known John and Michelle
from New York

61
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and Mama Cass was great,
a great social hostess.

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MICHELLE PHILLIPS: Laurel Canyon
was always like a hangout for,

63
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ah, bohemians and actors.

64
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It was full of charming little houses

65
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and it was a very joyful time.

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ERIC CLAPTON: I loved it, because
I've always loved eccentricity.

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I mean I'm attracted to eccentrics
and they were there.

68
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And they were all there.

69
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Everyone was writing
and writing together.

70
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And you'd go over to someone's house

71
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and you always brought your guitar

72
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and you'd sit around
and you'd start playing,

73
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and pretty soon you were writing a hit.

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GRAHAM NASH: People would not even call.

75
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They'd just knock on the door and go

76
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"Listen, hey, listen to this!"

77
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That's an incredible environment
for a musician to be in

78
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because it's incredibly healthy
and incredibly forward-looking

79
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and incredibly creative
and that's how I was feeling.

80
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STEPHEN STILLS: There was so much
great music floating around

81
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that you got little snippets of it and they...

82
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they just filtered through you, you know?

83
00:05:03,512 --> 00:05:06,926
[guitar strumming]

84
00:05:06,932 --> 00:05:07,932
ANDREW SLATER: Good evening.

85
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[audience cheers]

86
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The great Los Angeles songwriter
Warren Zevon

87
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once said that...

88
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[audience hoots and whistles]

89
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I miss him every day.

90
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He said if Roger McGuinn had
just played the opening notes

91
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to The Byrds' debut album
and dropped dead,

92
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he would have still exercised
the most pronounced influence

93
00:05:27,702 --> 00:05:30,445
over the folk rock movement in 25 years.

94
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And he was right.

95
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Because in 1965 when
those songs went on the radio,

96
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it was the first time a song
of poetic depth and grace

97
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had become a hit song
and it inspired a whole generation

98
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of writers to write differently
and to come to California,

99
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which gave birth
to the Laurel Canyon scene.

100
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So, the fiftieth anniversary
of that moment was this summer.

101
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So Jakob and I decided,

102
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'cause nobody else was doing anything
[chuckles],

103
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that we would make a record
of those songwriters.

104
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So now we're doing a show
and you're all a part of it.

105
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[Audience cheers and applauds]

106
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And thanks for coming
and enjoy the show!

107
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[applause continues]

108
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DYLAN: You guys ready to go to the 60s?

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[audience cheers and applauds]

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DYLAN VO: This is so great
because the music that

111
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came out of the Laurel Canyon scene
in the 60s

112
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was not only inspiring
to other bands at that time,

113
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but it also became inspiring
to my generation

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of musicians and songwriters.

115
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And tonight is an opportunity,
like folk music,

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to pass it on to a new generation

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and keep the echoes
of that music growing.

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[music fades]

119
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[people laughing and chatting indistinctly]

120
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[guitar strumming "Wild Mountain Thyme"]

121
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<i>♪ Oh, the summer time is coming ♪</i>

122
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<i>♪ And the leaves are sweetly turning ♪</i>

123
00:07:02,088 --> 00:07:06,253
<i>♪ And the wild mountain thyme ♪</i>

124
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<i>♪ Blooms across the purple heather ♪</i>

125
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<i>♪ Will you go... ♪</i>

126
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- Can we start over?
- I think I know it. We ready?

127
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I was gonna for a harmony but then I...

128
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[Regina laughs]

129
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What is the refrain, though?
Is it... just "will you go"?

130
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I like the way you're doing it.

131
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I just go "Will you go, will you go?"

132
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Sorry.

133
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Well, we can do it again.

134
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I think the refrain just comes around again.

135
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We just... these just kind of repeat.

136
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Oh, we never... what is all this?

137
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I never saw any of this!

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[guitar strumming]

139
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<i>♪ Oh, the summer time is coming... ♪</i>

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DYLAN VO: Why did we start all this?

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Well, we'd seen this movie "Model Shop".

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It reminded us
of a lot of music from the 60s

143
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so we decided to go back
and record some of the songs

144
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from the mid-60s

145
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and we got more and more curious
on what brought everybody here.

146
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Who came out here first?

147
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Was it people from
the east coast coming out here?

148
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Or was it people here
that started it just independently?

149
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Beach Boys were already here.

150
00:08:06,319 --> 00:08:09,187
I think The Byrds came out first
and everybody else followed.

151
00:08:09,197 --> 00:08:12,986
And how did The Byrds come to be?

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BECK: It started so innocently.

153
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["I Wanna Hold Your Hand" by The Beatles]

154
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<i>♪ Oh yeah I'll tell you somethin' ♪</i>

155
00:08:19,916 --> 00:08:22,374
<i>♪ I think you'll understand ♪</i>

156
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McGUlNN: The Beatles came out.

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And I heard this on the radio...

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[plays riff from "I Wanna Hold Your Hand"]

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And I said wow, you know,
they're using folk music chord changes,

160
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all these passing chords.

161
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[plays chords]

162
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So, it gave me an idea
of taking an old folk song

163
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and suping it up with a Beatle beat.

164
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And I took it down to the village

165
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and played it at the Café Playhouse.

166
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And they didn't like it.

167
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They didn't like the rock 'n' roll

168
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and folk music combined.

169
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They thought it was kind of a bad idea.

170
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You know, the coolest thing
about Roger, and I...

171
00:08:54,617 --> 00:08:56,700
it was like the first day I met him,

172
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he came into the Playhouse Café
with a Gibson 12-string,

173
00:09:01,875 --> 00:09:05,164
and he plays
"I Wanna Hold Your Hand".

174
00:09:05,170 --> 00:09:06,128
Hmm.

175
00:09:06,129 --> 00:09:08,212
And I went "I Wanna Hold Your Hand"

176
00:09:08,214 --> 00:09:12,003
as a one guitar folk thing?

177
00:09:12,010 --> 00:09:15,799
And it was really a remarkable, ballsy thing.

178
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- And he did take abuse for it.
- Yeah.

179
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I know a lot of people
were going what's he doing?

180
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So I went out to L.A.

181
00:09:22,228 --> 00:09:24,971
and I got gig at the Troubadour
opening up for Hoyt Axton

182
00:09:24,981 --> 00:09:26,438
doing the same thing.

183
00:09:26,441 --> 00:09:27,852
And they didn't like it there, either.

184
00:09:27,859 --> 00:09:30,772
And that's when
I got together with Gene Clark

185
00:09:30,779 --> 00:09:33,522
and David Crosby
and we got The Byrds together.

186
00:09:33,531 --> 00:09:35,272
There was a lot of funny shit
that happened.

187
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Ah, [chuckles]
we were rehearsing

188
00:09:38,036 --> 00:09:41,404
in an old recording studio
down on Third Avenue,

189
00:09:41,414 --> 00:09:44,248
ah, World Pacific I think it was called.

190
00:09:44,250 --> 00:09:45,661
Used to be a jazz studio.

191
00:09:45,668 --> 00:09:48,001
After they were through
using the studio at night,

192
00:09:48,004 --> 00:09:50,542
we would go in there and rehearse.

193
00:09:50,548 --> 00:09:53,211
And it did The Byrds
a great deal of good because

194
00:09:53,218 --> 00:09:55,551
we would have to listen to it back.

195
00:09:55,553 --> 00:09:57,920
If you hear how awful you are
then you work harder!

196
00:09:57,931 --> 00:09:58,847
DYLAN: Mm hmm.

197
00:09:58,848 --> 00:10:00,464
And so, that's exactly what we did.

198
00:10:00,475 --> 00:10:04,059
And then, after we started
getting good with it, ah,

199
00:10:04,729 --> 00:10:06,015
Dylan showed up.

200
00:10:07,982 --> 00:10:09,939
You have to be more specific.

201
00:10:09,943 --> 00:10:10,943
[Chuckles]
No, I'm kidding!

202
00:10:10,944 --> 00:10:12,105
You mean there's more than one?

203
00:10:12,112 --> 00:10:13,028
[chuckling]
Yeah!

204
00:10:13,029 --> 00:10:14,190
- Bob showed up.
- Okay.

205
00:10:14,197 --> 00:10:16,940
And he, 'cause he had heard
we were doing "Tambourine Man".

206
00:10:16,950 --> 00:10:18,532
He listened to us play it electric

207
00:10:18,535 --> 00:10:21,744
and he you can hear
the gears turning, you know.

208
00:10:21,746 --> 00:10:24,113
He knew he wanted to do that immediately.

209
00:10:24,582 --> 00:10:28,201
With The Byrds the real
accomplishment is the melding

210
00:10:28,211 --> 00:10:31,704
of, you know, folk music and rock 'n' roll

211
00:10:31,714 --> 00:10:33,421
and I mean all the bands you think of that

212
00:10:33,424 --> 00:10:35,165
as that California sound.

213
00:10:36,177 --> 00:10:38,339
Really none of them
sound exactly like The Byrds.

214
00:10:38,346 --> 00:10:40,508
["I'll Feel A Whole Lot Better" by The Byrds]

215
00:10:40,515 --> 00:10:42,598
<i>♪ The reasons why ♪</i>

216
00:10:42,600 --> 00:10:45,138
PETTY: That 12-string riff
is pretty spectacular.

217
00:10:45,145 --> 00:10:48,138
That's a pretty big moment in rock music.

218
00:10:48,148 --> 00:10:51,937
That's really, you know,
two things clashing together

219
00:10:51,943 --> 00:10:53,775
in a huge wave.

220
00:10:53,778 --> 00:10:57,146
And it would create
a whole genre of music quickly.

221
00:10:57,532 --> 00:10:59,524
I loved the sound that McGuinn got out

222
00:10:59,534 --> 00:11:03,027
of the 12-string and I thought
that the way he placed that,

223
00:11:03,037 --> 00:11:06,701
and Crosby's rhythm,
you know, underpinning it,

224
00:11:06,708 --> 00:11:09,325
they were the powerful band
that we all wanted to be!

225
00:11:09,335 --> 00:11:12,749
["I'll Feel A Whole Lot Better" continues]

226
00:11:14,716 --> 00:11:16,127
CLAPTON: I liked The Byrds a lot

227
00:11:16,134 --> 00:11:18,501
and I liked their kind of philosophy,

228
00:11:18,511 --> 00:11:22,505
the musical philosophy,
really, of, you know, folk rock.

229
00:11:22,515 --> 00:11:25,178
Folk rock to me was...
it was the songwriting, too.

230
00:11:25,185 --> 00:11:27,142
- Yeah, it was good.
- It was beautiful.

231
00:11:27,145 --> 00:11:29,808
<i>♪ Oh, what will you give me?</i>

232
00:11:30,356 --> 00:11:35,317
<i>♪ Sang the sad bells of Rhymney ♪</i>

233
00:11:37,530 --> 00:11:40,489
BROWNE: Folk music is just
an older form of songwriting.

234
00:11:41,201 --> 00:11:43,318
You learn a song from somebody,

235
00:11:43,328 --> 00:11:46,287
maybe it was your uncle
or somebody who learned it from

236
00:11:46,289 --> 00:11:48,576
a knife sharpener
who traveled through the South

237
00:11:48,583 --> 00:11:51,326
sharpening knives and scissors
who also played banjo and fiddle.

238
00:11:51,336 --> 00:11:52,702
["The Bells of Rhymney" by The Byrds]

239
00:11:52,712 --> 00:11:55,671
When The Byrds came out,
there were people who disapproved

240
00:11:55,673 --> 00:11:59,087
of doing those folk songs with a band.

241
00:11:59,719 --> 00:12:01,426
But it was very infectious.

242
00:12:01,429 --> 00:12:05,093
That's a big step forward
from "Love Me Do"

243
00:12:05,099 --> 00:12:07,091
to any of those things.

244
00:12:07,101 --> 00:12:10,560
And we started to take
rock 'n' roll seriously,

245
00:12:10,563 --> 00:12:13,931
'cause, yeah, no one
took it seriously before that.

246
00:12:13,942 --> 00:12:16,650
We were putting good poetry on the radio,

247
00:12:16,653 --> 00:12:18,519
AM radio, pop radio.

248
00:12:19,030 --> 00:12:20,237
It was the first time.

249
00:12:20,823 --> 00:12:24,407
There wasn't any of that before.
It was June, Moon, Spoon.

250
00:12:24,410 --> 00:12:27,403
<i>♪ Baby I love you Ooh, ooh ♪</i>

251
00:12:28,248 --> 00:12:30,114
Wasn't "Dance beneath the diamond sky

252
00:12:30,124 --> 00:12:32,491
with one hand waving free."

253
00:12:32,502 --> 00:12:34,289
It changed everything for everybody.

254
00:12:34,295 --> 00:12:35,536
Yeah.

255
00:12:36,881 --> 00:12:38,088
Fiona, are you here?

256
00:12:38,091 --> 00:12:39,832
[audience cheers]

257
00:12:43,596 --> 00:12:45,462
[audience cheers]

258
00:12:47,558 --> 00:12:49,515
DYLAN: I actually met Fiona
when she was 17.

259
00:12:49,519 --> 00:12:51,556
She'll probably
be embarrassed if I say that.

260
00:12:51,562 --> 00:12:52,723
[Apple chuckles]

261
00:12:52,730 --> 00:12:54,813
Too late now!

262
00:12:54,816 --> 00:12:56,102
Ready?

263
00:12:56,109 --> 00:12:57,225
Let's do a Byrds song.

264
00:12:57,235 --> 00:12:58,521
[drumsticks count in]

265
00:12:58,528 --> 00:13:01,020
["It Won't Be Wrong"]

266
00:13:08,830 --> 00:13:11,948
<i>♪ Oh, every time I see you smile ♪</i>

267
00:13:12,625 --> 00:13:15,993
<i>♪ Now, come to me now, don't be long ♪</i>

268
00:13:16,462 --> 00:13:19,626
<i>♪ Let me tell you
how my heart goes wild ♪</i>

269
00:13:20,216 --> 00:13:24,051
<i>♪ Please let me love you
and it won't be wrong ♪</i>

270
00:13:26,264 --> 00:13:29,428
<i>♪ Every time you're in my arms ♪</i>

271
00:13:30,018 --> 00:13:33,853
<i>♪ Come to me, don't be long ♪</i>

272
00:13:33,855 --> 00:13:37,599
<i>♪ You know that
I will never do you harm ♪</i>

273
00:13:37,608 --> 00:13:41,477
<i>♪ Please let me love you
and it won't be wrong ♪</i>

274
00:13:43,614 --> 00:13:46,652
<i>♪ Let me love you
and then you'll see ♪</i>

275
00:13:47,452 --> 00:13:51,321
<i>♪ Now, come to me, now, come to me ♪</i>

276
00:13:51,331 --> 00:13:54,574
<i>♪ Let me show you once
and we'll be free ♪</i>

277
00:13:55,168 --> 00:13:59,037
<i>♪ Please let me love you
and it won't be wrong ♪</i>

278
00:14:00,590 --> 00:14:04,334
[music continues]

279
00:14:12,143 --> 00:14:13,884
McGUlNN: The Beatles came to America

280
00:14:13,895 --> 00:14:15,511
and they asked them
who's your favorite band?

281
00:14:15,521 --> 00:14:16,637
And they said The Byrds!

282
00:14:16,647 --> 00:14:17,763
And we were just blown away.

283
00:14:17,774 --> 00:14:19,015
We kind of dressed like 'em.

284
00:14:19,025 --> 00:14:21,893
In fact, we bought these suits
that had black velvet collars.

285
00:14:21,903 --> 00:14:23,815
And we used to wear them
to Ciro's every night

286
00:14:23,821 --> 00:14:25,028
while we were doing our gig.

287
00:14:25,031 --> 00:14:26,192
That worked for about a week.

288
00:14:26,199 --> 00:14:27,565
We'd hang them up in the dressing room

289
00:14:27,575 --> 00:14:29,862
and put back our
t-shirts and jeans and go home.

290
00:14:29,869 --> 00:14:33,203
Well, one night we got to Ciro's
and the suits were gone.

291
00:14:33,206 --> 00:14:34,663
And I told this to John Lennon.

292
00:14:34,665 --> 00:14:36,531
He said, "I wished they'd stolen our suits."

293
00:14:36,542 --> 00:14:37,703
[Dylan chuckles]

294
00:14:37,710 --> 00:14:40,874
[plays "It Won't Be Wrong"]

295
00:14:46,386 --> 00:14:49,129
<i>♪ Every time I see you smile ♪</i>

296
00:14:49,597 --> 00:14:53,056
<i>♪ Come to me, don't be long ♪</i>

297
00:14:53,059 --> 00:14:56,393
<i>♪ Let me tell you
how my heart goes wild ♪</i>

298
00:14:56,396 --> 00:14:59,685
<i>♪ Please let me love you
and it won't be wrong ♪</i>

299
00:14:59,690 --> 00:15:02,057
[continues playing]

300
00:15:03,027 --> 00:15:04,393
["The Bells of Rhymney" by The Byrds]

301
00:15:04,404 --> 00:15:07,112
[air traffic control speaks indistinctly]

302
00:15:11,911 --> 00:15:13,277
McGUlNN: We were invited to go to England

303
00:15:13,287 --> 00:15:14,744
and we were really jazzed because

304
00:15:14,747 --> 00:15:16,830
this is where
The Beatles and The Stones were.

305
00:15:16,833 --> 00:15:18,790
Then we got there and we
discovered we'd been billed

306
00:15:18,793 --> 00:15:21,331
as America's answer to The Beatles.

307
00:15:21,337 --> 00:15:23,624
And it was a little tough to live up to.

308
00:15:23,631 --> 00:15:26,214
And they came to see us
one night at the Blaises Club

309
00:15:26,217 --> 00:15:29,005
and Chris was so nervous
he broke a bass string.

310
00:15:29,011 --> 00:15:31,173
And nobody ever
breaks a bass string, but he did.

311
00:15:31,180 --> 00:15:33,763
Then we went upstairs after the show

312
00:15:33,766 --> 00:15:35,052
and John and George came up

313
00:15:35,059 --> 00:15:37,301
and John said "Great show!" you know.

314
00:15:37,311 --> 00:15:39,348
They loved us.
They were really nice to us.

315
00:15:39,355 --> 00:15:42,814
When we came over there finally,
they were extremely cool.

316
00:15:43,359 --> 00:15:45,225
REPORTER: <i>Who is the young man
with the lengthy haircut</i>

317
00:15:45,236 --> 00:15:46,647
<i>to your right rear?</i>

318
00:15:46,654 --> 00:15:47,654
PAUL McCARTNEY: <i>Who is it?</i>

319
00:15:47,655 --> 00:15:50,864
JOHN LENNON: <i>That's Dave
from The Byrds, a mate of ours.</i>

320
00:15:50,867 --> 00:15:53,985
McGUlNN: And then the next night
we went to the Scotch at St. James

321
00:15:53,995 --> 00:15:57,614
and Paul McCartney,
this is his private club.

322
00:15:57,623 --> 00:16:00,331
And we had a couple of drinks,
and he took me for a ride

323
00:16:00,334 --> 00:16:03,042
in his Aston Martin DB5 around London.

324
00:16:03,045 --> 00:16:04,536
And then we hung out at The Stones' house

325
00:16:04,547 --> 00:16:06,504
and they showed us how they rolled joints.

326
00:16:06,507 --> 00:16:08,043
And they had a butler that rolled joints

327
00:16:08,050 --> 00:16:11,168
and put them on the stairs
for them in the morning

328
00:16:11,179 --> 00:16:12,053
like the morning coffee!
[chuckling]

329
00:16:12,054 --> 00:16:13,013
Yeah.

330
00:16:13,014 --> 00:16:14,846
The Byrds were great.

331
00:16:14,849 --> 00:16:16,465
They just became our friends.

332
00:16:16,476 --> 00:16:18,559
I mean when we came to L.A.,

333
00:16:18,561 --> 00:16:21,178
they came and hung out with us, you know.

334
00:16:21,189 --> 00:16:25,024
That 12-string sound was great
and the voices were great.

335
00:16:25,318 --> 00:16:26,854
So we loved The Byrds.

336
00:16:26,861 --> 00:16:30,696
They introduced us
to a hallucinogenic situation.

337
00:16:30,698 --> 00:16:31,814
Hmm.

338
00:16:31,824 --> 00:16:35,067
And, ah, we had a really good time.

339
00:16:35,077 --> 00:16:39,196
PETTY: The Beatles
actually started the folk rock

340
00:16:39,207 --> 00:16:40,368
in California.

341
00:16:40,374 --> 00:16:45,369
It was... and it probably
was the California guys

342
00:16:45,713 --> 00:16:47,921
trying to grab hold of that sound.

343
00:16:48,633 --> 00:16:50,716
It's all full of strange coincidences.

344
00:16:50,718 --> 00:16:54,211
John Hall of the Rickenbacker company
flying to New York

345
00:16:54,222 --> 00:16:56,885
because he'd heard
The Beatles played Rickenbacker

346
00:16:56,891 --> 00:16:59,008
and going up to the suite

347
00:16:59,018 --> 00:17:03,308
with the second
Rickenbacker 12-string ever made,

348
00:17:03,314 --> 00:17:04,976
giving it to George.

349
00:17:04,982 --> 00:17:06,894
He brought it for John

350
00:17:06,901 --> 00:17:09,609
because he's the one
that played the Rickenbacker.

351
00:17:09,946 --> 00:17:12,313
But George had the flu,
the other three had gone out

352
00:17:12,323 --> 00:17:15,031
for a photo session,
and George nabbed the 12-string.

353
00:17:15,034 --> 00:17:15,951
Mm hmm.

354
00:17:15,952 --> 00:17:18,786
That changed pop music, you know,

355
00:17:18,788 --> 00:17:20,780
rock music I guess you would call it.

356
00:17:20,790 --> 00:17:22,998
We should have the nerve
to call it rock music,

357
00:17:23,000 --> 00:17:25,162
I mean it was rock 'n' roll music.

358
00:17:25,503 --> 00:17:27,711
Everything was influencing everything.

359
00:17:27,713 --> 00:17:31,707
With this huge witches brew of, you know,

360
00:17:31,717 --> 00:17:33,299
and things would pop out.

361
00:17:33,302 --> 00:17:35,885
I mean and transatlantic, too,
'cause we were all listening

362
00:17:35,888 --> 00:17:37,880
to each other's records, you know.

363
00:17:37,890 --> 00:17:42,305
And The Beatles were
doing their cop on The Byrds

364
00:17:42,311 --> 00:17:46,726
with one song and then
they were doing The Beach Boys

365
00:17:46,732 --> 00:17:48,314
with "Girl", you know.

366
00:17:48,317 --> 00:17:49,728
["California Girls" by The Beach Boys]

367
00:17:49,735 --> 00:17:54,070
<i>♪ I wish they all could be California girls ♪</i>

368
00:17:54,073 --> 00:17:57,908
<i>♪ (I wish they all could be California) ♪</i>

369
00:18:06,210 --> 00:18:10,204
I was a sucker for Brian's work right away.

370
00:18:10,214 --> 00:18:13,127
I was very close friends
with Felix Pappalardi

371
00:18:13,134 --> 00:18:16,047
and he was the guy
who pointed out to me

372
00:18:16,053 --> 00:18:19,592
the Bach-like qualities.

373
00:18:19,599 --> 00:18:22,216
And he said listen to this chord sequence.

374
00:18:22,226 --> 00:18:27,221
They're using like Bach
chordal movements in there.

375
00:18:27,898 --> 00:18:30,641
I mean that was really important.

376
00:18:30,651 --> 00:18:34,565
<i>♪ Yeah, but I couldn't wait
to get back in the States ♪</i>

377
00:18:34,572 --> 00:18:37,781
<i>♪ Back to the cutest girls in the world ♪</i>

378
00:18:39,201 --> 00:18:43,445
<i>♪ I wish they all could be California girls ♪</i>

379
00:18:43,456 --> 00:18:47,666
<i>♪ (I wish they all could be California) ♪</i>

380
00:18:53,716 --> 00:18:55,958
Well, they were the other band
that we admired.

381
00:18:57,511 --> 00:18:58,718
They were it.

382
00:18:59,055 --> 00:19:02,799
Everybody else... and they were
as establishment as they could be,

383
00:19:02,808 --> 00:19:04,424
but they were good.

384
00:19:04,435 --> 00:19:06,552
They had good songs 'cause of Brian

385
00:19:06,562 --> 00:19:08,428
and they had really interesting harmonies,

386
00:19:08,439 --> 00:19:10,897
completely different than anybody else.

387
00:19:10,900 --> 00:19:12,732
So, we liked them a lot.

388
00:19:12,735 --> 00:19:14,727
DICK CLARK: <i>May I have,
I'm sure most everybody knows</i>

389
00:19:14,737 --> 00:19:17,901
<i>but for anybody who might not,
may be introduce you by name?</i>

390
00:19:17,907 --> 00:19:19,443
<i>- Al Jardine.
- Thank you, Al.</i>

391
00:19:19,450 --> 00:19:20,816
<i>- Dennis Wilson.
- Thank you.</i>

392
00:19:20,826 --> 00:19:23,193
<i>- Brian Wilson.
- Carl Wilson.</i>

393
00:19:23,204 --> 00:19:24,204
<i>Mike Love.</i>

394
00:19:24,205 --> 00:19:26,743
<i>Who determines
what will be done next?</i>

395
00:19:27,458 --> 00:19:29,871
<i>Well, I guess I do. I don't know.
[chuckles]</i>

396
00:19:29,877 --> 00:19:31,368
<i>I write the songs and produce them,</i>

397
00:19:31,379 --> 00:19:33,211
<i>so I have a lot to say about it.</i>

398
00:19:33,714 --> 00:19:36,377
PETTY: I can't see something in Mozart

399
00:19:36,384 --> 00:19:38,671
that's better than Brian Wilson.

400
00:19:39,387 --> 00:19:41,219
I think you could make that case.

401
00:19:42,264 --> 00:19:43,926
Those guys would have loved him.

402
00:19:43,933 --> 00:19:45,140
Hmm.

403
00:19:45,726 --> 00:19:47,843
He's really just too good.
He's [laughs]

404
00:19:47,853 --> 00:19:49,014
Yeah.

405
00:19:49,021 --> 00:19:53,140
He's not a guy that comes
down the pike in many lifetimes.

406
00:19:53,150 --> 00:19:55,016
That's pretty special stuff.

407
00:19:55,027 --> 00:19:57,735
["In My Room"]

408
00:20:00,866 --> 00:20:05,861
<i>♪ In this world I lock out ♪</i>

409
00:20:05,871 --> 00:20:12,459
<i>♪ All my worries and my fears ♪</i>

410
00:20:13,754 --> 00:20:16,417
<i>♪ In my room ♪</i>

411
00:20:20,219 --> 00:20:23,053
<i>♪ In my room ♪</i>

412
00:20:23,889 --> 00:20:26,677
<i>♪ (In my room) ♪</i>

413
00:20:28,686 --> 00:20:32,225
<i>♪ I do my dreaming ♪</i>

414
00:20:32,231 --> 00:20:35,690
<i>♪ And my scheming ♪</i>

415
00:20:35,693 --> 00:20:40,484
<i>♪ Lie awake and pray ♪</i>

416
00:20:42,867 --> 00:20:47,862
<i>♪ Do my crying
And my sighing ♪</i>

417
00:20:50,291 --> 00:20:56,379
<i>♪ Laugh at yesterday ♪</i>

418
00:20:57,423 --> 00:21:02,418
<i>♪ Now it's dark and I'm alone ♪</i>

419
00:21:03,846 --> 00:21:09,558
<i>♪ But I won't be afraid ♪</i>

420
00:21:10,603 --> 00:21:12,890
<i>♪ In my room ♪</i>

421
00:21:16,942 --> 00:21:19,935
<i>♪ In my room ♪</i>

422
00:21:20,738 --> 00:21:23,606
<i>♪ In my room ♪</i>

423
00:21:23,991 --> 00:21:26,950
<i>♪ In my room ♪</i>

424
00:21:27,453 --> 00:21:32,323
<i>♪ In my room ♪</i>

425
00:21:34,418 --> 00:21:36,956
[audience cheers]

426
00:21:37,963 --> 00:21:41,331
"In My Room", oh my God, you know.

427
00:21:41,342 --> 00:21:46,337
Who has not, you know,
sought solace of your... the privacy

428
00:21:47,181 --> 00:21:49,889
and the solace of your own room,
your own space.

429
00:21:49,892 --> 00:21:52,350
It can be said in a million ways,

430
00:21:52,353 --> 00:21:54,970
but I mean just that...
that song was so beautiful.

431
00:21:55,189 --> 00:21:58,102
Beach Boys was a primary thing

432
00:21:58,108 --> 00:22:02,227
when Cream was kind of
philosophically driven by it,

433
00:22:02,238 --> 00:22:05,026
by the idea that we could
somehow do something like that.

434
00:22:05,032 --> 00:22:09,072
Or be inspired by that,
Pet Sounds, you know.

435
00:22:09,537 --> 00:22:13,372
PHILLIPS: They lived right down
the street from us, Brian and Marilyn.

436
00:22:13,374 --> 00:22:16,538
And one day I went over there
and the whole living room

437
00:22:16,544 --> 00:22:18,001
was full of sand.

438
00:22:18,712 --> 00:22:21,125
And there was nothing in the living room

439
00:22:21,131 --> 00:22:26,798
but a Steinway and a piano bench
and just all sand.

440
00:22:27,972 --> 00:22:31,136
And I looked at her
and I said what is going on?

441
00:22:32,017 --> 00:22:36,432
She said I know it's crazy
but he's writing some great songs.

442
00:22:36,438 --> 00:22:37,554
Mm hmm.

443
00:22:37,815 --> 00:22:39,898
And he was writing Pet Sounds!

444
00:22:40,150 --> 00:22:44,235
["You Still Believe In Me"
by The Beach Boys]

445
00:22:44,238 --> 00:22:48,198
PETTY: I won that record
on the radio, ah, on a call-in!

446
00:22:48,617 --> 00:22:52,156
Like I was standing by the phone

447
00:22:52,162 --> 00:22:54,700
and some trivia question was asked.

448
00:22:55,624 --> 00:22:58,207
I called right away and answered it
and I won a record!

449
00:22:58,210 --> 00:22:59,417
[chuckles]

450
00:22:59,420 --> 00:23:01,036
And it was Pet Sounds.

451
00:23:02,089 --> 00:23:05,423
It took me a few spins to understand, like,

452
00:23:05,426 --> 00:23:06,792
what's going on here.

453
00:23:06,802 --> 00:23:09,590
But I just fell in love with that record.

454
00:23:10,264 --> 00:23:11,380
It's different.

455
00:23:11,390 --> 00:23:13,131
You know, it's off in a corner by itself.

456
00:23:13,142 --> 00:23:15,384
Nobody else did that successfully,

457
00:23:15,394 --> 00:23:16,555
not to the level they did

458
00:23:16,562 --> 00:23:18,394
'cause they didn't have a writer like Brian.

459
00:23:18,939 --> 00:23:21,932
I was just kind of maybe too young
to really appreciate

460
00:23:21,942 --> 00:23:25,151
how incredibly sophisticated the music was.

461
00:23:25,154 --> 00:23:29,239
I just saw five guys wearing
the same shirt holding one surfboard

462
00:23:29,241 --> 00:23:30,527
and I thought it was lame.

463
00:23:30,534 --> 00:23:31,650
Hmm.

464
00:23:31,660 --> 00:23:35,119
But all that changed
when I heard Pet Sounds.

465
00:23:35,122 --> 00:23:37,705
That's said to be responsible
for Sgt. Pepper,

466
00:23:37,708 --> 00:23:38,949
you know, totally.

467
00:23:38,959 --> 00:23:41,167
Imagine a band influencing The Beatles.

468
00:23:44,798 --> 00:23:46,209
[needle scratches]

469
00:23:49,136 --> 00:23:53,881
[Jakob Dylan singing]
<i>♪ I keep looking for a place to fit in ♪</i>

470
00:23:53,891 --> 00:23:58,226
<i>♪ Where I can speak my mind ♪</i>

471
00:23:58,979 --> 00:24:03,724
<i>♪ And I've been trying hard
to find the people ♪</i>

472
00:24:03,734 --> 00:24:08,024
<i>♪ That I won't leave behind ♪</i>

473
00:24:08,822 --> 00:24:10,939
<i>♪ They say I got brains ♪</i>

474
00:24:10,950 --> 00:24:15,490
<i>♪ But they ain't doing me no good ♪</i>

475
00:24:15,496 --> 00:24:17,988
<i>♪ I wish they could ♪</i>

476
00:24:18,749 --> 00:24:23,414
<i>♪ And each time things
start to happen again ♪</i>

477
00:24:23,420 --> 00:24:27,835
<i>♪ I think I got something good
goin' for myself ♪</i>

478
00:24:27,841 --> 00:24:30,299
<i>♪ But what goes wrong ♪</i>

479
00:24:30,928 --> 00:24:35,514
<i>♪ Now, sometimes I feel very sad ♪</i>

480
00:24:36,058 --> 00:24:41,053
<i>♪ Sometimes I feel very sad ♪</i>

481
00:24:41,230 --> 00:24:43,392
[music continues]

482
00:24:44,566 --> 00:24:45,932
Do you want to sit at the piano?

483
00:24:45,943 --> 00:24:47,024
Does the song sound familiar to you?

484
00:24:47,027 --> 00:24:48,984
- Do you need me at the piano?
- Yeah, come on.

485
00:24:50,155 --> 00:24:51,987
We're working on a couple of your songs.

486
00:24:51,991 --> 00:24:53,732
[Brian Wilson plays piano]

487
00:24:56,704 --> 00:24:59,196
DYLAN: We're working on
"Just Wasn't Made For These Times".

488
00:24:59,206 --> 00:25:01,072
What key is your original key?
Do you remember?

489
00:25:01,083 --> 00:25:02,369
My original... B-flat.

490
00:25:02,376 --> 00:25:03,492
We're in E-flat.

491
00:25:03,502 --> 00:25:05,118
E-flat, oh, you got the wrong key!

492
00:25:05,129 --> 00:25:06,586
[laughter]

493
00:25:06,588 --> 00:25:08,079
We'll get capos.

494
00:25:08,090 --> 00:25:10,047
Yeah, play it in E-flat
or E or wherever you do.

495
00:25:10,050 --> 00:25:11,382
Okay, cool.

496
00:25:11,385 --> 00:25:15,345
[band starts
"I Just Wasn't Made For These Times"]

497
00:25:27,818 --> 00:25:30,105
[music continues]

498
00:25:39,121 --> 00:25:41,363
BRIAN WILSON: Well, Bach
influenced "California Girls",

499
00:25:41,373 --> 00:25:44,912
the duh, duh-duh, duh-duh,
that kind of a beat, shuffle rhythm.

500
00:25:44,918 --> 00:25:47,410
Chuck Berry and the Four Freshmen
taught me harmony

501
00:25:47,421 --> 00:25:51,210
and Chuck Berry taught me
rock 'n' roll melodies.

502
00:25:51,216 --> 00:25:55,085
Well, I learned violin arrangement
from George Martin.

503
00:25:55,095 --> 00:25:56,927
I learned how to make...
write out, you know,

504
00:25:56,930 --> 00:25:58,466
violin for violin players.

505
00:25:58,474 --> 00:26:00,682
I wrote manuscript for them,
and they played it...

506
00:26:00,684 --> 00:26:02,550
if they played it wrong
I can walk out and go

507
00:26:02,561 --> 00:26:04,518
"You got it wrong, buddy.
You gotta do this right",

508
00:26:04,521 --> 00:26:07,434
you know, and they'd
fix their instruments and they'd do it.

509
00:26:07,441 --> 00:26:08,477
Hmm.

510
00:26:08,484 --> 00:26:11,022
Well, The Beatles were probably
my favorite group, you know.

511
00:26:11,028 --> 00:26:12,735
I really liked them a lot.

512
00:26:12,738 --> 00:26:15,572
With Rubber Soul,
one of my buddies brought it over

513
00:26:15,574 --> 00:26:16,690
and played it for me.

514
00:26:16,700 --> 00:26:19,568
I said I can't believe this album! You know?

515
00:26:19,578 --> 00:26:22,286
He kept playing it and playing it
and I said wow!

516
00:26:22,289 --> 00:26:23,325
I couldn't believe it.

517
00:26:23,332 --> 00:26:25,324
That made me write
the Pet Sounds album.

518
00:26:25,334 --> 00:26:29,669
<i>♪ Now, sometimes I feel very sad ♪</i>

519
00:26:30,255 --> 00:26:34,716
<i>♪ Now, sometimes I feel very sad ♪</i>

520
00:26:35,427 --> 00:26:38,716
[music continues]

521
00:26:40,099 --> 00:26:45,094
<i>♪ And I guess I just
wasn't made for these times ♪</i>

522
00:26:45,395 --> 00:26:50,106
<i>♪ (I guess I just
wasn't made for these times) ♪</i>

523
00:26:57,658 --> 00:27:01,072
[music continues]

524
00:27:08,919 --> 00:27:10,911
[indistinct conversation]

525
00:27:13,757 --> 00:27:16,090
["Dedicated to the One I Love"
by The Mamas & and the Papas]

526
00:27:16,093 --> 00:27:21,885
<i>♪ While I'm far away from you my baby ♪</i>

527
00:27:23,517 --> 00:27:28,888
<i>♪ I know it's hard for you my baby ♪</i>

528
00:27:30,232 --> 00:27:35,227
<i>♪ Because it's hard for me my baby ♪</i>

529
00:27:36,405 --> 00:27:41,525
<i>♪ And the darkest hour
is just before dawn ♪</i>

530
00:27:43,495 --> 00:27:49,412
<i>♪ Each night
before you go to bed my baby ♪</i>

531
00:27:50,252 --> 00:27:56,624
<i>♪ Whisper a little
prayer for me my baby ♪</i>

532
00:27:57,342 --> 00:28:03,589
<i>♪ Because it's hard for me my baby ♪</i>

533
00:28:04,057 --> 00:28:08,097
<i>♪ And the darkest hour
is just before dawn ♪</i>

534
00:28:08,103 --> 00:28:12,689
PHILLIPS: We had the radio on
and The Byrds came on.

535
00:28:14,818 --> 00:28:16,229
I mean it was The Byrds.

536
00:28:16,236 --> 00:28:18,694
We were sure of it
because we knew them.

537
00:28:18,697 --> 00:28:20,563
We knew them personally
and we were friends with them.

538
00:28:20,574 --> 00:28:24,614
So we said God,
if The Byrds can have a hit,

539
00:28:24,620 --> 00:28:27,078
anybody can have a hit!
[laughing]

540
00:28:27,915 --> 00:28:28,996
Hmm.

541
00:28:28,999 --> 00:28:32,242
So, we've got to get back to L.A.

542
00:28:32,252 --> 00:28:34,084
But we were staying at the Albert Hotel.

543
00:28:34,087 --> 00:28:36,500
That's where all the musicians
kind of stayed

544
00:28:36,506 --> 00:28:38,122
when they went into town.

545
00:28:38,133 --> 00:28:40,295
And since John and I had gotten married,

546
00:28:40,302 --> 00:28:41,838
I wanted to go back home.

547
00:28:42,179 --> 00:28:45,013
And he said we can't go back home.

548
00:28:45,015 --> 00:28:46,131
We can't.

549
00:28:46,141 --> 00:28:48,758
The music business is here in New York.

550
00:28:48,769 --> 00:28:50,931
That's when he woke me up
in the middle of the night

551
00:28:50,938 --> 00:28:53,100
and he said I'm writing a song.

552
00:28:53,106 --> 00:28:54,392
Listen to this.

553
00:28:54,399 --> 00:28:55,890
And he played:

554
00:28:55,901 --> 00:28:57,984
<i>♪ All the leaves are brown ♪</i>

555
00:28:58,820 --> 00:29:01,062
<i>♪ And the sky is gray ♪</i>

556
00:29:02,407 --> 00:29:04,194
<i>♪ I've been for a walk... ♪</i>

557
00:29:04,201 --> 00:29:05,658
<i>♪ (I've been for a walk) ♪</i>

558
00:29:05,661 --> 00:29:07,618
<i>♪ On a winter's day ♪</i>

559
00:29:07,621 --> 00:29:10,238
<i>♪ (on a winter's day) ♪</i>

560
00:29:10,249 --> 00:29:11,706
<i>♪ I'd be safe and warm ♪</i>

561
00:29:11,708 --> 00:29:14,075
<i>♪ (I'd be safe and warm) ♪</i>

562
00:29:14,086 --> 00:29:16,169
<i>♪ If I was in L.A. ♪</i>

563
00:29:16,171 --> 00:29:18,754
<i>♪ (if I was in L.A.) ♪</i>

564
00:29:18,757 --> 00:29:22,876
<i>♪ California dreamin'
(California dreamin') ♪</i>

565
00:29:22,886 --> 00:29:25,629
<i>♪ On such a winter's day... ♪</i>

566
00:29:26,848 --> 00:29:28,840
[guitar strumming]

567
00:29:28,850 --> 00:29:30,716
DYLAN: Has it been a while
since you've been in this room?

568
00:29:30,727 --> 00:29:35,722
I was just saying that
this is where we first sang

569
00:29:35,816 --> 00:29:38,354
for Lou Adler, in this studio.

570
00:29:38,360 --> 00:29:39,318
In this room, too?

571
00:29:39,319 --> 00:29:41,982
We recorded in 3, but this is where we,

572
00:29:41,989 --> 00:29:44,857
just where we're standing right now,

573
00:29:44,866 --> 00:29:49,031
we sang practically
the first album for Lou.

574
00:29:49,037 --> 00:29:50,448
And what were some of the songs you sang

575
00:29:50,455 --> 00:29:51,991
in the audition that you had?

576
00:29:51,999 --> 00:29:53,991
"California Dreamin'",

577
00:29:54,001 --> 00:29:55,583
"Monday Monday",

578
00:29:55,919 --> 00:29:57,831
"Go Where You Wanna Go."

579
00:29:57,838 --> 00:29:59,750
- You had some good ones, then.
- You know.

580
00:29:59,756 --> 00:30:00,917
[everyone chuckles]

581
00:30:00,924 --> 00:30:02,381
- Wow.
- We had some material.

582
00:30:02,384 --> 00:30:06,253
And he said, with his hat
pulled down over his nose like this,

583
00:30:06,263 --> 00:30:08,425
you know, "Why don't you
guys come back tomorrow.

584
00:30:08,432 --> 00:30:09,889
We'll talk about this tomorrow."

585
00:30:09,891 --> 00:30:11,553
"Okay."
[everyone chuckles]

586
00:30:11,560 --> 00:30:12,926
And when we came back,

587
00:30:12,936 --> 00:30:16,225
the contracts were
all over the floor at Studio 3

588
00:30:16,231 --> 00:30:19,065
and they were handing out pens like here!

589
00:30:19,067 --> 00:30:21,184
Sign this! Sign this! Sign this!
[chuckling]

590
00:30:21,194 --> 00:30:23,026
Well, then the audition went well, obviously.

591
00:30:23,030 --> 00:30:23,988
It did!

592
00:30:23,989 --> 00:30:26,697
ADLER: I think the first studio I recorded in,

593
00:30:26,700 --> 00:30:30,410
that's all the equipment they had,
just this little slab here.

594
00:30:31,413 --> 00:30:35,828
The piano was in the middle.

595
00:30:37,169 --> 00:30:41,539
Hal Blaine and his drums were there.

596
00:30:41,548 --> 00:30:46,293
John Phillips and his 12-string, P. F. Sloan,

597
00:30:46,303 --> 00:30:48,044
maybe Glen Campbell,

598
00:30:48,055 --> 00:30:50,593
Billy Strange, one of those guitar players...

599
00:30:50,599 --> 00:30:52,636
- All in here.
- would be in a line.

600
00:30:52,642 --> 00:30:56,477
We were at the end of a take
and Denny Doherty...

601
00:30:56,480 --> 00:30:58,221
it was pretty wild through the night.

602
00:30:58,231 --> 00:31:00,393
It got wilder and wilder.

603
00:31:00,400 --> 00:31:03,814
A lot of Crown Royal bags
laying everything.

604
00:31:03,820 --> 00:31:07,860
And Denny had fallen asleep on the piano.

605
00:31:08,533 --> 00:31:12,777
And John said
"Denny, get up. I need a note."

606
00:31:12,788 --> 00:31:16,577
And we couldn't raise Denny.

607
00:31:16,583 --> 00:31:20,702
So, we put... got a microphone
and pulled it over here.

608
00:31:20,712 --> 00:31:21,629
Hmm.

609
00:31:21,630 --> 00:31:23,963
And put it over Denny like that.

610
00:31:23,965 --> 00:31:28,005
And John leaned down
and sang the note to him.

611
00:31:28,011 --> 00:31:31,630
Denny sang the note,
he got the note he wanted,

612
00:31:31,640 --> 00:31:33,427
he went right back to sleep.

613
00:31:33,433 --> 00:31:34,433
[Dylan chuckles]

614
00:31:34,434 --> 00:31:36,471
But it's a fantastic room. I mean it's...

615
00:31:36,478 --> 00:31:38,765
DYLAN: This room looks
exactly the same I would think, no?

616
00:31:38,772 --> 00:31:40,138
ADLER: The room looks exactly the same.

617
00:31:40,148 --> 00:31:42,105
The speakers are a little different.

618
00:31:42,109 --> 00:31:47,104
But the room looks
and feels exactly the same.

619
00:31:47,322 --> 00:31:50,781
<i>♪ Bah-da bah-da-da-da ♪</i>

620
00:31:51,660 --> 00:31:54,528
<i>♪ Bah-da bah-da-da-da ♪</i>

621
00:31:54,538 --> 00:31:58,077
<i>♪ Monday, Monday
(Bah-da bah-da-da-da) ♪</i>

622
00:32:05,674 --> 00:32:10,385
<i>♪ It was all I hoped it would be ♪</i>

623
00:32:11,346 --> 00:32:15,556
<i>♪ Oh Monday mornin', Monday mornin' ♪</i>

624
00:32:15,559 --> 00:32:18,973
<i>♪ Couldn't guarantee ♪</i>

625
00:32:19,813 --> 00:32:26,185
<i>♪ That Monday evenin'
you would still be here with me ♪</i>

626
00:32:28,738 --> 00:32:31,446
<i>♪ Monday, Monday ♪</i>

627
00:32:32,242 --> 00:32:35,155
<i>♪ Can't trust that day ♪</i>

628
00:32:37,038 --> 00:32:39,121
<i>♪ Monday, Monday ♪</i>

629
00:32:39,124 --> 00:32:43,994
<i>♪ Sometimes it just turns out that way ♪</i>

630
00:32:44,963 --> 00:32:49,207
<i>♪ Oh Monday mornin'
you gave me no warnin' ♪</i>

631
00:32:49,217 --> 00:32:52,130
<i>♪ Of what was to be ♪</i>

632
00:32:53,346 --> 00:32:57,386
<i>♪ Oh Monday, Monday
how could you leave ♪</i>

633
00:32:57,392 --> 00:32:59,600
<i>♪ and not take me ♪</i>

634
00:33:02,939 --> 00:33:04,931
<i>♪ Every other day
(every other day) ♪</i>

635
00:33:06,526 --> 00:33:10,566
<i>♪ Of the week is fine, yeah ♪</i>

636
00:33:11,364 --> 00:33:13,481
<i>♪ But whenever Monday comes
(but whenever Monday comes) ♪</i>

637
00:33:13,492 --> 00:33:15,074
<i>♪ But whenever Monday comes ♪</i>

638
00:33:15,076 --> 00:33:22,076
<i>♪ You can find me cryin' all of the time ♪</i>

639
00:33:24,211 --> 00:33:28,046
It was all very, very romantic.

640
00:33:28,048 --> 00:33:31,883
We were living in the Virgin Islands
on the beach in tents.

641
00:33:31,885 --> 00:33:34,969
And it's just inevitable, it's gonna happen,

642
00:33:34,971 --> 00:33:38,965
the dynamics in a group
when there are men and women.

643
00:33:39,267 --> 00:33:41,930
You see something in a band member,

644
00:33:41,937 --> 00:33:46,932
their talent and their sexiness,
and there's a spark.

645
00:33:46,942 --> 00:33:50,151
I know that it happened
in the The Mamas & the Papas.

646
00:33:50,153 --> 00:33:53,897
I've seen it happen in almost
any group that I can think of

647
00:33:53,907 --> 00:33:55,944
that have men and women in them.

648
00:33:55,951 --> 00:33:57,408
Jefferson Airplane,

649
00:33:57,410 --> 00:33:59,026
Fleetwood Mac.

650
00:33:59,037 --> 00:34:00,824
We were so confined

651
00:34:00,830 --> 00:34:03,197
to the four of us living together all the time.

652
00:34:03,208 --> 00:34:04,665
We were always together.

653
00:34:04,668 --> 00:34:06,580
And when we were rehearsing,

654
00:34:06,586 --> 00:34:09,920
Denny and I under the table
were playing footsie.

655
00:34:10,507 --> 00:34:14,626
And Denny was also a big flirt.

656
00:34:14,636 --> 00:34:19,597
He just wanted to take it
to the maximum, you know.

657
00:34:19,599 --> 00:34:21,761
He had a great sense of humor,

658
00:34:21,768 --> 00:34:24,681
that little look in his eye, you know.

659
00:34:25,188 --> 00:34:26,929
He was just so hot.

660
00:34:27,190 --> 00:34:29,603
<i>♪ Boys and girls ♪</i>

661
00:34:29,609 --> 00:34:35,105
<i>♪ You know they're birds of a feather ♪</i>

662
00:34:36,324 --> 00:34:40,944
<i>♪ Like two sides of a coin ♪</i>

663
00:34:40,954 --> 00:34:44,368
<i>♪ They are foreverjoined ♪</i>

664
00:34:44,374 --> 00:34:49,335
PHILLIPS: On the cover of our first album
I'm lying back in Denny's arms.

665
00:34:49,337 --> 00:34:50,999
This is before we got caught.

666
00:34:51,006 --> 00:34:53,669
Really, the first night that we were together

667
00:34:53,675 --> 00:34:56,918
we had all been sitting
at the table and John and Cass,

668
00:34:56,928 --> 00:34:59,762
we looked over and they were asleep.

669
00:35:00,265 --> 00:35:03,178
And that's when Denny just got up

670
00:35:03,184 --> 00:35:06,723
and he walked over to the sliding glass door
and off we went.

671
00:35:07,105 --> 00:35:10,269
I was raised in a very free atmosphere.

672
00:35:10,567 --> 00:35:14,231
To me, having an affair was not as serious

673
00:35:14,237 --> 00:35:16,945
as it was to the rest of them.

674
00:35:17,449 --> 00:35:21,989
I had had an affair before Denny

675
00:35:21,995 --> 00:35:23,952
when John and I had first gotten married.

676
00:35:24,414 --> 00:35:28,408
So, it was something that John
had already experienced with me,

677
00:35:28,418 --> 00:35:30,956
and that's when he wrote
"Go Where You Wanna Go".

678
00:35:30,962 --> 00:35:35,252
John was really crushed and upset about it

679
00:35:35,258 --> 00:35:38,171
and so the lyric of
"go where you want to go,

680
00:35:38,178 --> 00:35:39,714
do what you want to do,

681
00:35:39,721 --> 00:35:42,714
with whoever you want to do it with" bitch!

682
00:35:42,724 --> 00:35:44,090
[both chuckle]

683
00:35:44,100 --> 00:35:47,093
So, I mean, I was busy.

684
00:35:47,103 --> 00:35:49,390
I was a very busy girl.

685
00:35:49,397 --> 00:35:51,263
And I was having a lot of fun!
[chuckling]

686
00:35:51,274 --> 00:35:52,731
I'm glad you said that and not me!

687
00:35:52,734 --> 00:35:54,020
[both laughs]

688
00:35:54,027 --> 00:35:57,816
["Go Where You Wanna Go"]

689
00:36:03,411 --> 00:36:06,324
<i>♪ And you gotta go where you want to go ♪</i>

690
00:36:06,331 --> 00:36:08,573
<i>♪ Do what you want to do ♪</i>

691
00:36:08,583 --> 00:36:13,248
<i>♪ With whoever you want to do it with ♪</i>

692
00:36:13,254 --> 00:36:15,496
<i>♪ Go where you want to go ♪</i>

693
00:36:15,507 --> 00:36:17,794
<i>♪ Do what you want to do ♪</i>

694
00:36:22,263 --> 00:36:26,257
<i>♪ You don't understand ♪</i>

695
00:36:26,267 --> 00:36:28,259
<i>♪ That a girl like me ♪</i>

696
00:36:28,269 --> 00:36:33,936
<i>♪ Can love just one man ♪</i>

697
00:36:36,611 --> 00:36:40,901
<i>♪ Three thousand miles ♪</i>

698
00:36:40,907 --> 00:36:44,321
<i>♪ That's how far you'll go ♪</i>

699
00:36:45,453 --> 00:36:48,787
<i>♪ And you said to me ♪</i>

700
00:36:49,416 --> 00:36:53,035
<i>♪ Please ♪</i>

701
00:36:53,420 --> 00:36:57,539
♪ Don't follow ♪

702
00:36:58,299 --> 00:37:01,212
<i>♪ You gotta go where you want to go ♪</i>

703
00:37:01,219 --> 00:37:03,461
<i>♪ Do what you want to do ♪</i>

704
00:37:03,471 --> 00:37:07,715
<i>♪ With whoever you want to do it with ♪</i>

705
00:37:08,017 --> 00:37:10,225
<i>♪ Go where you want to go ♪</i>

706
00:37:10,228 --> 00:37:12,390
<i>♪ Do what you want to do ♪</i>

707
00:37:12,397 --> 00:37:16,937
<i>♪ With whoever you want to do it ♪</i>

708
00:37:16,943 --> 00:37:20,653
<i>♪ You don't understand ♪</i>

709
00:37:20,655 --> 00:37:24,569
<i>♪ That a girl like me can love ♪</i>

710
00:37:24,576 --> 00:37:29,822
<i>♪ Just one man ♪</i>

711
00:37:30,957 --> 00:37:35,122
<i>♪ You've been gone a week ♪</i>

712
00:37:35,587 --> 00:37:38,751
<i>♪ And I tried so hard ♪</i>

713
00:37:39,883 --> 00:37:43,797
<i>♪ Not to be the cryin' kind ♪</i>

714
00:37:44,345 --> 00:37:47,463
<i>♪ Not to be the girl ♪</i>

715
00:37:47,474 --> 00:37:52,469
<i>♪ You left behind ♪</i>

716
00:37:55,732 --> 00:37:59,100
[music continues]

717
00:38:13,792 --> 00:38:15,784
<i>♪ Go where you want to go ♪</i>

718
00:38:16,044 --> 00:38:18,036
<i>♪ Do what you want to do ♪</i>

719
00:38:18,254 --> 00:38:22,589
<i>♪ With whoever you want to do it ♪</i>

720
00:38:22,592 --> 00:38:25,084
<i>♪ Go where you want to go ♪</i>

721
00:38:25,094 --> 00:38:27,427
<i>♪ Do what you want to do ♪</i>

722
00:38:33,061 --> 00:38:36,771
[applause]

723
00:38:37,440 --> 00:38:39,272
Oh, that is so touching!

724
00:38:39,275 --> 00:38:41,016
- Oh good, you like it.
- I love it!

725
00:38:41,027 --> 00:38:43,019
- Oh, cool.
- I love it.

726
00:38:43,029 --> 00:38:44,395
I forgot what a great song that was!

727
00:38:44,405 --> 00:38:46,021
Yeah, right?

728
00:38:46,366 --> 00:38:47,573
<i>♪ One, two, three ♪</i>

729
00:38:47,575 --> 00:38:48,941
<i>♪ You're going to lose that girl ♪</i>

730
00:38:48,952 --> 00:38:51,285
<i>♪ (Yes, yes, you're gonna lose that girl) ♪</i>

731
00:38:56,376 --> 00:38:58,618
PETTY: The 60s, right, it was really blessed.

732
00:38:58,628 --> 00:39:00,836
I mean all that stuff showed up at once.

733
00:39:00,839 --> 00:39:02,580
Must have been meant that way.

734
00:39:02,590 --> 00:39:05,799
But it was a nice circle of really good artists,

735
00:39:05,802 --> 00:39:07,919
well meaning artists, thinking about

736
00:39:07,929 --> 00:39:11,013
how can I make a record
as good as that one?

737
00:39:11,015 --> 00:39:12,972
Music happens
at a particular moment in time

738
00:39:12,976 --> 00:39:16,140
and it changes everything going forward.

739
00:39:16,145 --> 00:39:19,309
<i>♪ You're going to lose that girl ♪</i>

740
00:39:21,442 --> 00:39:26,437
ADLER: I had ended up
with an acetate of Pet Sounds

741
00:39:26,823 --> 00:39:29,611
and I was going to England

742
00:39:29,617 --> 00:39:32,109
to visit my friend Andrew Oldham,

743
00:39:32,120 --> 00:39:34,954
who is a producer of The Rolling Stones.

744
00:39:35,665 --> 00:39:37,827
And Paul McCartney came by

745
00:39:37,834 --> 00:39:39,996
and I played them Pet Sounds

746
00:39:40,003 --> 00:39:43,121
and they were listening
to everything that Brian was doing

747
00:39:43,131 --> 00:39:47,375
and thinking about how
they could use certain things

748
00:39:47,385 --> 00:39:49,627
that he was doing on Pet Sounds.

749
00:39:50,305 --> 00:39:52,592
Out of that comes Sgt. Pepper.

750
00:39:53,308 --> 00:39:55,721
STARR: There was a lot
of stuff going on.

751
00:39:55,727 --> 00:39:58,265
All those records you bought,
those vinyl... we bought,

752
00:39:58,271 --> 00:39:59,978
you weren't even born...

753
00:39:59,981 --> 00:40:03,145
were just the best.
'Cause everyone was at it.

754
00:40:03,151 --> 00:40:05,643
I have two favorite records,
as a lot of people do,

755
00:40:05,653 --> 00:40:08,646
and one of them is Pet Sounds
and the other is Sgt. Pepper.

756
00:40:08,656 --> 00:40:10,318
You can listen to the records

757
00:40:10,325 --> 00:40:14,535
and you can see the cross-pollinization.

758
00:40:14,537 --> 00:40:16,153
It was a magical thing.

759
00:40:16,789 --> 00:40:19,497
Any time something good happens,

760
00:40:19,500 --> 00:40:21,412
it's gonna show up other places.

761
00:40:21,419 --> 00:40:23,285
It's gonna be mirrored back.

762
00:40:23,880 --> 00:40:26,167
Well, that was just like cross-pollinization.

763
00:40:26,174 --> 00:40:28,882
I mean The Beatles also
grew up listening to skiffle music.

764
00:40:29,385 --> 00:40:33,095
George admits "The Bells of Rhymney"

765
00:40:33,097 --> 00:40:35,805
and "If I Needed Someone" are very similar.

766
00:40:35,808 --> 00:40:40,473
I think he sent Roger a little card about it

767
00:40:40,480 --> 00:40:42,016
that he still has, you know.

768
00:40:42,023 --> 00:40:44,731
Someone would have
written most of a song, say,

769
00:40:44,734 --> 00:40:46,691
you know, Paul or John, and they play it

770
00:40:46,694 --> 00:40:49,357
and when it felt good okay, that's how we do it.

771
00:40:49,364 --> 00:40:51,356
We would just jam. We were buskers.

772
00:40:51,366 --> 00:40:53,858
The riff was...
["The Bells of Rhymney"]

773
00:40:58,122 --> 00:41:00,580
<i>♪ Oh, what will you give me? ♪</i>

774
00:41:01,292 --> 00:41:05,707
<i>♪ Say the sad bells of Rhomey ♪</i>

775
00:41:05,713 --> 00:41:08,626
Anyway, so George liked that riff and he wrote:

776
00:41:08,633 --> 00:41:11,467
<i>♪ If I needed someone to love ♪</i>

777
00:41:11,469 --> 00:41:12,386
based on that.

778
00:41:12,387 --> 00:41:15,004
He made a tape of it
and gave it to Derek Taylor in London.

779
00:41:15,014 --> 00:41:18,052
Derek came over to my house,
he said George wants you to know

780
00:41:18,059 --> 00:41:21,769
that he wrote this song based
on your riff in "Bells of Rhymney".

781
00:41:21,980 --> 00:41:25,189
When you hear beautiful music
it gets inside you

782
00:41:25,191 --> 00:41:27,729
and sometimes you want
to do a little something like that

783
00:41:27,735 --> 00:41:29,192
maybe, but your way.

784
00:41:29,195 --> 00:41:32,279
Or wow, he did that
so maybe I could maybe...

785
00:41:32,281 --> 00:41:34,022
and it's an open-ended thing.

786
00:41:34,033 --> 00:41:37,322
But that's fair, right? That's... that's fair.

787
00:41:37,328 --> 00:41:40,412
But, you know, outright theft
isn't that good but you...

788
00:41:40,415 --> 00:41:42,031
[chuckles]

789
00:41:42,041 --> 00:41:44,454
But in that sense
I thought it was really nice.

790
00:41:45,253 --> 00:41:48,417
[♪♪♪]

791
00:41:50,091 --> 00:41:51,377
BECK: You have the heavy...

792
00:41:51,384 --> 00:41:52,591
you're a little bit on the heavier side.

793
00:41:52,593 --> 00:41:54,585
You got the Pet Sounds
and the Sgt. Pepper's over there...

794
00:41:54,595 --> 00:41:56,302
I have some very good shit over here, yeah!

795
00:41:56,305 --> 00:41:57,716
I'll stick with this.

796
00:41:57,724 --> 00:42:01,092
BECK: Yeah. And these records come

797
00:42:01,102 --> 00:42:03,264
all of a sudden like an avalanche.

798
00:42:03,271 --> 00:42:04,387
DYLAN: Mm hmm.

799
00:42:04,397 --> 00:42:06,855
And there's nothing like them before.

800
00:42:06,858 --> 00:42:09,601
SPEKTOR: It used to be that
every time any of these came out

801
00:42:09,610 --> 00:42:13,103
it was like this giant event

802
00:42:13,114 --> 00:42:16,448
and people would talk about it
and gather together

803
00:42:16,451 --> 00:42:19,990
and put on a record in their room
and listen to the record.

804
00:42:19,996 --> 00:42:21,112
- It's so cool.
- For days.

805
00:42:21,122 --> 00:42:22,122
For days!

806
00:42:22,123 --> 00:42:27,084
And they'd be deciphering,
you know, why is he wearing this cape,

807
00:42:27,086 --> 00:42:28,998
poncho, from the Renaissance Fair.

808
00:42:29,005 --> 00:42:30,416
[everyone chuckles]

809
00:42:30,423 --> 00:42:33,507
Yeah, one of my favorite things
about all these bands

810
00:42:33,509 --> 00:42:36,502
is that they're, in a sense,
they're sort of super groups,

811
00:42:36,512 --> 00:42:38,424
you know.
They have multiple lead singers.

812
00:42:38,431 --> 00:42:40,423
They have multiple songwriters.

813
00:42:40,433 --> 00:42:44,097
But I think the beauty of all this
is how they came together

814
00:42:44,103 --> 00:42:48,473
and brought the best of
that they had for something.

815
00:42:48,816 --> 00:42:51,604
Yeah! I mean just listen
to Buffalo Springfield

816
00:42:51,611 --> 00:42:53,603
- and all those bands.
- POWER: Yeah.

817
00:42:53,613 --> 00:42:55,696
DYLAN: You just get something
completely remarkable and unique

818
00:42:55,698 --> 00:42:57,155
- when it's...
- BECK: Oh, yeah...

819
00:42:57,158 --> 00:42:59,024
DYLAN: a combination,
a collaborative, that you can't...

820
00:42:59,035 --> 00:43:01,743
you just can't do, with all your own DNA.

821
00:43:01,746 --> 00:43:02,827
You just can't.

822
00:43:02,830 --> 00:43:03,830
[audience cheering]

823
00:43:03,831 --> 00:43:05,572
DICK CLARK: <i>Gentlemen! Gentlemen!</i>

824
00:43:05,583 --> 00:43:07,449
<i>Nice to see you all!</i>

825
00:43:07,460 --> 00:43:08,792
<i>Welcome.</i>

826
00:43:08,795 --> 00:43:11,253
<i>Would you be kind enough
to act as spokesman,</i>

827
00:43:11,255 --> 00:43:13,497
<i>introduce yourself, and then
let us know who else is involved.</i>

828
00:43:13,508 --> 00:43:15,591
<i>Ah, my name is Neil Young.</i>

829
00:43:15,593 --> 00:43:16,674
<i>All right, Neil. How do you do?</i>

830
00:43:16,677 --> 00:43:18,339
<i>I'm the lead guitar player.
How do you do?</i>

831
00:43:18,346 --> 00:43:20,133
<i>This is Richie Furay.</i>

832
00:43:20,139 --> 00:43:21,971
<i>CLARK: Hello, Richie! Nice to see you</i>

833
00:43:21,974 --> 00:43:24,466
<i>- This is Steve Stills.
- Hello, Steve. Nice to see you.</i>

834
00:43:24,477 --> 00:43:27,185
<i>How does three Canadians
and a couple of other fellows</i>

835
00:43:27,188 --> 00:43:29,430
<i>all fall into together?
How did that happen?</i>

836
00:43:29,440 --> 00:43:32,808
<i>Well, we, ah,
Bruce and I came to Los Angeles</i>

837
00:43:32,819 --> 00:43:36,028
<i>in an old hearse to try to,
you know, make stars, you know.</i>

838
00:43:36,030 --> 00:43:37,396
<i>We're gonna be stars.</i>

839
00:43:37,406 --> 00:43:42,117
<i>So, ah, we were just about to leave
and I saw him in a van</i>

840
00:43:42,120 --> 00:43:44,453
<i>going the other way on Sunset
and he stopped and he...</i>

841
00:43:44,455 --> 00:43:47,664
<i>and we stopped and we all stopped
and then we started.</i>

842
00:43:47,667 --> 00:43:50,831
["For What It's Worth"]

843
00:43:53,422 --> 00:43:56,335
<i>♪ There's something happening here ♪</i>

844
00:43:56,342 --> 00:43:57,217
[audience cheers]

845
00:43:57,218 --> 00:44:00,928
<i>♪ What it is ain't exactly clear ♪</i>

846
00:44:02,098 --> 00:44:06,138
<i>♪ There's a man with a gun over there ♪</i>

847
00:44:06,894 --> 00:44:10,604
<i>♪ Telling me I got to beware ♪</i>

848
00:44:11,566 --> 00:44:14,934
<i>♪ I think it's time we stop,
children, what's that sound ♪</i>

849
00:44:14,944 --> 00:44:18,528
<i>♪ Everybody look what's going down ♪</i>

850
00:44:22,285 --> 00:44:25,278
["Mr. Soul"]

851
00:44:29,000 --> 00:44:33,995
<i>♪ Oh, hello Mr. Soul,
I dropped by to pick up a reason ♪</i>

852
00:44:36,215 --> 00:44:37,922
<i>♪ For the thought that I caught ♪</i>

853
00:44:37,925 --> 00:44:41,464
<i>♪ That my head
is the event of the season ♪</i>

854
00:44:43,306 --> 00:44:45,389
<i>♪ I'll cop out to the change ♪</i>

855
00:44:45,391 --> 00:44:48,930
<i>♪ But a stranger is putting the tease on ♪</i>

856
00:44:51,189 --> 00:44:54,102
[music continues]

857
00:44:55,276 --> 00:44:57,814
STILLS: We were in Fort William, Ontario,

858
00:44:57,820 --> 00:45:00,528
and the owner of the club
said these guys that we,

859
00:45:00,531 --> 00:45:03,274
you know, employ regularly
are gonna come in

860
00:45:03,284 --> 00:45:08,279
and do a set in between
you guys and the main act.

861
00:45:08,372 --> 00:45:11,831
It was Neil with a little trio
called The Squires.

862
00:45:12,585 --> 00:45:14,827
And he was doing exactly
what I wanted to do,

863
00:45:14,837 --> 00:45:17,875
which was to play folk songs
on electric guitar.

864
00:45:17,882 --> 00:45:20,966
And we hung out together for a week.

865
00:45:20,968 --> 00:45:23,927
We talked and dreamt and fantasized

866
00:45:23,930 --> 00:45:25,887
about what we wanted to do.

867
00:45:25,890 --> 00:45:27,756
And we were inseparable.

868
00:45:28,017 --> 00:45:31,351
Buffalo Springfield,
you know, that was a big one.

869
00:45:31,354 --> 00:45:35,348
I saw them back in '67 or '68.

870
00:45:35,358 --> 00:45:39,147
They came to Gainesville
and played with The Beach Boys.

871
00:45:39,153 --> 00:45:41,361
You know, I never got over it!
[chuckling]

872
00:45:41,364 --> 00:45:44,607
It was a really
mind-blowing show, you know.

873
00:45:44,617 --> 00:45:48,236
It was like that's as good
as it's supposed to be, you know.

874
00:45:48,246 --> 00:45:49,407
It was maybe better.

875
00:45:49,497 --> 00:45:51,705
Buffalo Springfield had like, you know,

876
00:45:51,707 --> 00:45:56,702
just like legions of the girls that,
you know, I wanted,

877
00:45:58,130 --> 00:46:00,247
you know, were like just looking that way.

878
00:46:00,258 --> 00:46:02,466
And I thought, you know, this is...

879
00:46:02,468 --> 00:46:04,130
this must be a pretty good band.

880
00:46:04,136 --> 00:46:07,129
- We went to L.A. with Cream.
- Yeah.

881
00:46:07,139 --> 00:46:09,222
And I hadn't been there
more than about an hour

882
00:46:09,225 --> 00:46:11,387
and there was a knock at the door
and then Stephen Stills

883
00:46:11,394 --> 00:46:13,477
was there with a guitar, you know.

884
00:46:13,479 --> 00:46:14,640
He just came in.

885
00:46:14,647 --> 00:46:16,354
I took his guitar out of the case and said

886
00:46:16,357 --> 00:46:17,939
"I hear you like this".

887
00:46:17,942 --> 00:46:20,309
- He played you "Bluebird"?
- He played "Bluebird".

888
00:46:20,319 --> 00:46:23,437
["Bluebird"]

889
00:46:31,080 --> 00:46:34,949
They'd end with this really long
"Bluebird", like, you know,

890
00:46:34,959 --> 00:46:38,373
trading guitars for...
'til it just got really intense.

891
00:46:38,379 --> 00:46:39,540
It was great.

892
00:46:39,547 --> 00:46:43,666
The Byrds picked up the Buffalo Springfield
for an opening act

893
00:46:43,676 --> 00:46:47,044
and it lasted until
David Crosby saw us for the first time

894
00:46:47,054 --> 00:46:49,546
and he says "Get them out of there.
They're too good."

895
00:46:49,557 --> 00:46:52,800
I remember thinking
when we did it this is a bad idea.

896
00:46:53,477 --> 00:46:56,970
'Cause they're -
they're really amazingly good.

897
00:46:56,981 --> 00:46:59,769
And we had hits, you know,
so we could follow them,

898
00:46:59,775 --> 00:47:02,142
but they were awfully goddamn good.

899
00:47:02,153 --> 00:47:05,396
STILLS: What was good about it
is that we had a wealth of material.

900
00:47:05,406 --> 00:47:08,945
What was bad about it, it was
in really divergent directions.

901
00:47:08,951 --> 00:47:11,284
The first song we had, "Clancy",

902
00:47:11,287 --> 00:47:14,621
with the Buffalo Springfield,
we did the first take

903
00:47:14,623 --> 00:47:17,206
and the voice comes back
from the booth and said,

904
00:47:17,209 --> 00:47:20,873
"It's too long. Play it faster."

905
00:47:20,880 --> 00:47:21,880
Mm hmm.

906
00:47:21,881 --> 00:47:24,965
And that's when Neil and I
looked at each other and said

907
00:47:24,967 --> 00:47:27,630
oh my God, we've gotta
learn how to do this ourselves.

908
00:47:27,636 --> 00:47:31,971
There's Neil and I'm listening
to something that he's doing.

909
00:47:31,974 --> 00:47:34,432
And that's the old original console.

910
00:47:34,435 --> 00:47:35,892
This was only 8-track.

911
00:47:35,895 --> 00:47:41,015
That's why it's an old Altec console
with like big knobs.

912
00:47:41,484 --> 00:47:44,852
And right after that,
I think we got an MCI or something

913
00:47:44,862 --> 00:47:49,402
and went to 16, which to me
was all we ever needed.

914
00:47:49,408 --> 00:47:52,116
But this is like after we obviously had learned

915
00:47:52,119 --> 00:47:54,111
to make them ourselves. I see, no...

916
00:47:54,121 --> 00:47:57,114
That's probably the engineer
that was hired for the session.

917
00:47:57,124 --> 00:47:58,285
DYLAN: He's gotta sit down now?

918
00:47:58,292 --> 00:48:00,955
Just go sit down there.
[laughs]

919
00:48:00,961 --> 00:48:03,999
["Questions"]

920
00:48:09,387 --> 00:48:12,801
<i>♪ Where are we going love? ♪</i>

921
00:48:13,933 --> 00:48:16,346
<i>♪ What are you feelin'? ♪</i>

922
00:48:17,812 --> 00:48:21,101
<i>♪ Now that I've caught my love ♪</i>

923
00:48:22,149 --> 00:48:24,641
<i>♪ My head is reelin' ♪</i>

924
00:48:24,902 --> 00:48:29,317
<i>♪ With the questions of a thousand dreams ♪</i>

925
00:48:29,740 --> 00:48:33,609
<i>♪ What she's doing
what she's seen ♪</i>

926
00:48:33,953 --> 00:48:37,412
<i>♪ Now, come on lover talk to me ♪</i>

927
00:48:37,415 --> 00:48:38,997
DYLAN: Should we talk about "Questions"?

928
00:48:38,999 --> 00:48:42,618
STILLS: Well, to start with I had this what...
you know those magical days

929
00:48:42,628 --> 00:48:44,870
where a lot of stuff happens?

930
00:48:44,880 --> 00:48:48,749
I met Judy Collins
and Eric Clapton on the same night.

931
00:48:48,759 --> 00:48:51,718
I went to the Whisky to see Eric.

932
00:48:52,012 --> 00:48:55,756
And so I'm flirting with Judy,
trying to listen to Eric,

933
00:48:55,766 --> 00:48:59,305
who's blowing my mind,
and so I'm overwhelmed.

934
00:48:59,311 --> 00:49:03,305
And then later on, Crosby had
brought Eric to my little house

935
00:49:03,315 --> 00:49:04,931
in Laurel Canyon.

936
00:49:04,942 --> 00:49:09,937
And the changes to "Questions" were derived

937
00:49:10,573 --> 00:49:15,318
from a song of Judy's called
"Since You've Asked".

938
00:49:15,327 --> 00:49:18,911
And I just took
this first three chords

939
00:49:18,914 --> 00:49:22,703
and changed the cadence and everything.

940
00:49:22,710 --> 00:49:26,294
And then it evolved into the song.

941
00:49:26,297 --> 00:49:30,462
And I think I was playing it for him
as I was trying to write it,

942
00:49:30,468 --> 00:49:34,337
and it later ended up
on a Buffalo Springfield album.

943
00:49:34,346 --> 00:49:36,554
I haven't listened to that stuff
for a long time,

944
00:49:36,557 --> 00:49:38,344
you know, the west coast music,
at all and so...

945
00:49:38,350 --> 00:49:39,309
The original version you...

946
00:49:39,310 --> 00:49:41,552
No, I haven't heard
the original version of "Questions"

947
00:49:41,562 --> 00:49:43,019
for a long, long, long time.

948
00:49:43,022 --> 00:49:44,809
And it really took me back.

949
00:49:45,316 --> 00:49:48,480
<i>♪ What was it made you run ♪</i>

950
00:49:49,278 --> 00:49:52,942
<i>♪ Tryin' to get around
The questions... ♪</i>

951
00:49:52,948 --> 00:49:56,112
CLAPTON: It took me back to
a song that I had done, too,

952
00:49:56,118 --> 00:49:57,905
around the same time.

953
00:49:57,912 --> 00:50:03,124
Ah, a little later, actually,
called "Let It Rain".

954
00:50:03,584 --> 00:50:06,873
And it was one of the first songs I'd ever written.

955
00:50:06,879 --> 00:50:10,418
And it... and there, you know,
there's that kind of...

956
00:50:10,424 --> 00:50:12,290
I was influenced by it, I think.

957
00:50:12,301 --> 00:50:14,338
Yeah, I thought that we talked
about having, hopefully,

958
00:50:14,345 --> 00:50:16,132
you play on that song with Stephen...

959
00:50:16,138 --> 00:50:17,299
Yeah.

960
00:50:17,306 --> 00:50:20,140
I wondered if that was gonna be...
it's not gonna bother you

961
00:50:20,142 --> 00:50:22,805
that there's the...
there's a similar feel or...

962
00:50:22,811 --> 00:50:24,552
Well I didn't... I must have copped it

963
00:50:24,563 --> 00:50:25,804
and not even known, you know.

964
00:50:25,814 --> 00:50:27,305
We can edit that part right out.

965
00:50:27,316 --> 00:50:28,807
Well, no, no! I think, no,

966
00:50:28,817 --> 00:50:30,308
that's very important for people to know.

967
00:50:30,319 --> 00:50:31,319
Well Stephen owes you one.

968
00:50:31,320 --> 00:50:34,609
♪ Come on lover, talk to me ♪

969
00:50:35,491 --> 00:50:38,905
[music continues]

970
00:51:07,064 --> 00:51:08,350
Sorry I got lost.

971
00:51:08,357 --> 00:51:10,019
Whatever happened
in the solo section was great.

972
00:51:10,025 --> 00:51:11,482
- Cool.
- With you and Eric together.

973
00:51:11,485 --> 00:51:14,228
SLATER: Yeah. When Eric's playing
in the top of the second solo,

974
00:51:14,238 --> 00:51:16,821
you know, he's playing in the higher register

975
00:51:16,824 --> 00:51:18,907
and I think anything in the lower register

976
00:51:18,909 --> 00:51:20,525
would be cool as a complement.

977
00:51:20,536 --> 00:51:24,325
[guitar solo]

978
00:51:29,378 --> 00:51:32,371
<i>♪ Where are we going love? ♪</i>

979
00:51:33,173 --> 00:51:37,417
Eric was very meticulous
about reminding me back then,

980
00:51:37,428 --> 00:51:41,422
he said (in British accent)
You know, when you're doing this on stage,

981
00:51:41,432 --> 00:51:43,424
you must take turns.

982
00:51:43,434 --> 00:51:46,427
[guitar solo]

983
00:51:46,437 --> 00:51:48,224
Much like schoolyard, you know.

984
00:51:48,689 --> 00:51:49,975
Gentlemanly.

985
00:51:49,982 --> 00:51:53,566
[guitar solo in "Questions"]

986
00:52:00,868 --> 00:52:05,454
[inaudible]

987
00:52:07,124 --> 00:52:10,367
CLAPTON: I had got an invite
to go and watch

988
00:52:10,377 --> 00:52:14,667
Buffalo Springfield rehearsing
in a house in Laurel Canyon.

989
00:52:14,673 --> 00:52:18,417
I had met this girl called
Mary Hughes who was

990
00:52:18,427 --> 00:52:21,841
the kind of beauty queen
of the Strip at that time.

991
00:52:21,847 --> 00:52:24,464
Jeff Beck was dating her
and Keith Moon was dating her

992
00:52:24,475 --> 00:52:28,185
and I somehow managed
to get into the equation.

993
00:52:28,187 --> 00:52:32,397
And I'm with this beautiful girl
and there's joints being passed around

994
00:52:32,399 --> 00:52:33,685
and they start to play.

995
00:52:33,692 --> 00:52:36,810
And they played at a level where
it wasn't too loud for everybody

996
00:52:36,820 --> 00:52:41,815
and they were rehearsing a set,
I think, to play for a show.

997
00:52:42,451 --> 00:52:44,408
And then there's a knock at the door.

998
00:52:45,037 --> 00:52:48,576
And someone goes to answer
and there's an immediate vibe

999
00:52:48,582 --> 00:52:51,575
in the room of that
something's wrong, you know.

1000
00:52:52,294 --> 00:52:56,038
And they open the door
and there's a policeman standing there.

1001
00:52:56,048 --> 00:52:58,756
And there's a squad car in the background.

1002
00:52:58,759 --> 00:53:02,218
And he says,
"You'll have to keep it down.

1003
00:53:02,221 --> 00:53:05,385
We've had some complaints about the noise.

1004
00:53:05,391 --> 00:53:07,098
[sniffs]
What's that?"

1005
00:53:07,101 --> 00:53:09,514
And next thing you know,
they're in the room.

1006
00:53:09,520 --> 00:53:12,308
And I had nothing...
I had just put down a joint.

1007
00:53:12,314 --> 00:53:13,395
I had nothing in my hands,

1008
00:53:13,399 --> 00:53:17,143
but, ah, I was handcuffed to somebody.

1009
00:53:17,152 --> 00:53:22,147
So, we were all taken to L.A. County Jail.

1010
00:53:22,324 --> 00:53:26,159
Meanwhile, it was like where's...
what happened to Stephen?

1011
00:53:26,161 --> 00:53:29,450
Stephen, when he realized
who was at the front door...

1012
00:53:29,456 --> 00:53:30,373
Yeah!

1013
00:53:30,374 --> 00:53:34,118
Jumped out the bathroom window
and ran off.

1014
00:53:34,128 --> 00:53:36,120
There's a party that
we heard about, too, your...

1015
00:53:36,130 --> 00:53:38,213
was it your house
that had a party in the Canyon?

1016
00:53:38,215 --> 00:53:39,626
Is that the same party you mentioned?

1017
00:53:39,633 --> 00:53:41,670
What? Disastrous.

1018
00:53:41,677 --> 00:53:44,294
What I heard was
you were there, Eric was there,

1019
00:53:44,304 --> 00:53:46,466
Neil was there, and so were the police.

1020
00:53:46,473 --> 00:53:48,305
- I'd say yeah!
- That sound right?

1021
00:53:48,308 --> 00:53:51,472
Neil and I were sitting
in a bedroom in the back

1022
00:53:51,478 --> 00:53:53,310
and we here this
[grumbles sternly].

1023
00:53:53,313 --> 00:53:56,977
And I said go check that.

1024
00:53:56,984 --> 00:53:59,476
I'm gonna go next door and call lawyers!

1025
00:53:59,486 --> 00:54:01,398
And I book it out the back.

1026
00:54:01,405 --> 00:54:04,443
So, of course, that blew up
into ruining my reputation.

1027
00:54:04,450 --> 00:54:06,567
Oh, he was the guy that booked, you know.

1028
00:54:06,577 --> 00:54:10,912
And, ah, and I went next door and...

1029
00:54:10,914 --> 00:54:12,030
totally reprehensible.

1030
00:54:12,040 --> 00:54:14,623
I should have manned up and... and it wasn't.

1031
00:54:14,626 --> 00:54:18,415
I've never lived that down
and felt awful about it ever since.

1032
00:54:18,422 --> 00:54:21,039
Neil got really aggressive
and was out the door

1033
00:54:21,049 --> 00:54:23,336
and he was gonna go
chase the police away.

1034
00:54:23,343 --> 00:54:27,087
'Cause he's Canadian and I guess
in Canada you can do that...

1035
00:54:29,349 --> 00:54:32,763
PETTY: It was really exciting
to get to Los Angeles

1036
00:54:32,770 --> 00:54:34,557
coming from Gainesville, Florida.

1037
00:54:34,563 --> 00:54:37,476
And in my mind,
it was the weather and the girls

1038
00:54:37,483 --> 00:54:41,898
and the surfing and the cars
and it was a young mentality.

1039
00:54:41,904 --> 00:54:45,193
[♪♪♪]

1040
00:54:51,455 --> 00:54:56,450
This is kind of where people
that really were big dreamers

1041
00:54:56,585 --> 00:55:00,124
went to because
that's kind of allowed here.

1042
00:55:00,130 --> 00:55:02,463
There are people that believe that

1043
00:55:02,466 --> 00:55:06,927
it might be possible to do
something that's not ordinary.

1044
00:55:06,929 --> 00:55:10,138
The first thing I remember
going down Sunset Boulevard

1045
00:55:10,140 --> 00:55:12,803
looking out the car at the all
the record companies, you know.

1046
00:55:12,810 --> 00:55:17,805
In those days it was MGM,
you know, Capitol, you know,

1047
00:55:17,940 --> 00:55:20,523
all these labels that aren't there anymore.

1048
00:55:20,526 --> 00:55:24,987
It was true. I got out there
and man, these recording studios

1049
00:55:24,988 --> 00:55:29,983
are all spotless and engineers
are really remarkably good.

1050
00:55:30,702 --> 00:55:33,991
This is where Phil Spector
and Brian Wilson were working.

1051
00:55:33,997 --> 00:55:36,865
People started showing up here
trying to work with the engineers

1052
00:55:36,875 --> 00:55:39,162
they worked with
and the studios that they worked in

1053
00:55:39,169 --> 00:55:42,128
to make things sound... fat.

1054
00:55:42,130 --> 00:55:44,087
In America it's very, very different.

1055
00:55:44,091 --> 00:55:46,128
Abbey Road was
the only place that, basically,

1056
00:55:46,134 --> 00:55:47,466
we ever recorded, right.

1057
00:55:47,469 --> 00:55:51,338
There it was almost like,
ah, almost like the BBC.

1058
00:55:51,348 --> 00:55:54,056
All the engineers had
these white overalls on.

1059
00:55:54,059 --> 00:55:55,766
And, you know, if you wanted
to bring the bass up

1060
00:55:55,769 --> 00:55:58,477
you had to go to the producer
who then went to the engineer

1061
00:55:58,480 --> 00:55:59,891
who then brought the bass up.

1062
00:55:59,898 --> 00:56:02,766
You were secondary somehow
to these people in white coats

1063
00:56:02,776 --> 00:56:05,143
that were really making the music.

1064
00:56:05,153 --> 00:56:07,486
STARR: They had all these
like professors guys.

1065
00:56:07,489 --> 00:56:09,446
You know, scientists upstairs.

1066
00:56:09,449 --> 00:56:11,065
We were in the studio.

1067
00:56:11,076 --> 00:56:12,783
It's like an old 40s movie.

1068
00:56:12,786 --> 00:56:14,823
Oh, what's that you want?
You want to play?

1069
00:56:14,830 --> 00:56:17,163
Mm, let me see what I can do.

1070
00:56:17,165 --> 00:56:21,000
Very different here.
Very much looser, much better.

1071
00:56:21,253 --> 00:56:24,041
"Good Vibrations"
was recorded in four studios,

1072
00:56:24,047 --> 00:56:25,163
four different studios.

1073
00:56:25,173 --> 00:56:26,789
Well, each studio is different, you know?

1074
00:56:26,800 --> 00:56:29,543
Like you can't...
not any one studio's the same.

1075
00:56:29,553 --> 00:56:32,011
Western was good for the,
ah, instrumentation,

1076
00:56:32,014 --> 00:56:34,051
like the bass, the drums, guitars.

1077
00:56:34,057 --> 00:56:36,299
Sunset Sound, I liked their tech piano.

1078
00:56:36,310 --> 00:56:38,973
I used that on the bridge
to "Good Vibrations."

1079
00:56:38,979 --> 00:56:40,971
Gold Star was good for just the echo.

1080
00:56:40,981 --> 00:56:42,392
The echo of Gold Star was good.

1081
00:56:42,399 --> 00:56:44,891
And RCA Victor,
that's where we did the vocal.

1082
00:56:44,902 --> 00:56:46,859
There were so many studios.

1083
00:56:46,862 --> 00:56:50,981
They had that great
RCA studio on Sunset and Ivar.

1084
00:56:50,991 --> 00:56:52,903
It was a fantastic place.

1085
00:56:52,910 --> 00:56:54,492
Columbia Studios.

1086
00:56:54,494 --> 00:56:56,611
And Western, you know,

1087
00:56:56,622 --> 00:56:59,410
United Western at times it was called.

1088
00:56:59,416 --> 00:57:00,623
It's still there.

1089
00:57:01,627 --> 00:57:03,289
DYLAN: Have you...
have you recorded here?

1090
00:57:03,295 --> 00:57:04,957
NORAH JONES: No, I've never been here.

1091
00:57:06,256 --> 00:57:08,919
Yeah, this is where
Brian Wilson, Mamas & the Papas,

1092
00:57:08,926 --> 00:57:10,758
and Buffalo Springfield recorded.

1093
00:57:10,761 --> 00:57:11,877
JONES: Yeah?

1094
00:57:12,638 --> 00:57:14,800
As well as you can see
the evolution of Don Was.

1095
00:57:14,806 --> 00:57:16,297
Yeah, there he is!

1096
00:57:16,308 --> 00:57:18,095
And let's go back further.

1097
00:57:18,101 --> 00:57:19,592
And there's some more of him over there.

1098
00:57:19,603 --> 00:57:21,060
Yeah, you can here see this...

1099
00:57:21,063 --> 00:57:22,224
There's some more him down there -

1100
00:57:22,230 --> 00:57:23,766
...before he really figured it out.

1101
00:57:24,066 --> 00:57:26,058
[Jones laughs]

1102
00:57:26,652 --> 00:57:28,063
SLATER: What about these guys?

1103
00:57:28,278 --> 00:57:29,814
Mm, not really familiar.

1104
00:57:30,155 --> 00:57:32,021
[everyone chuckles]

1105
00:57:33,492 --> 00:57:34,824
- That's okay.
- It's okay.

1106
00:57:34,826 --> 00:57:37,660
- This is all right here, huh?
- Yeah. It's cool.

1107
00:57:37,663 --> 00:57:39,370
Yeah, I want to record
a song by The Association.

1108
00:57:39,373 --> 00:57:40,409
Yeah!

1109
00:57:40,415 --> 00:57:42,031
They're not really marked
who's doing what,

1110
00:57:42,042 --> 00:57:43,578
but that doesn't really matter.

1111
00:57:44,503 --> 00:57:47,621
[guitar strumming "Never My Love"]

1112
00:57:49,341 --> 00:57:53,802
<i>♪ You ask me if there'll come a time ♪</i>

1113
00:57:53,804 --> 00:57:57,297
<i>♪ When I'll grow tired of you ♪</i>

1114
00:57:58,392 --> 00:58:00,679
<i>♪ Never my love ♪</i>

1115
00:58:03,355 --> 00:58:05,347
<i>♪ Never my love ♪</i>

1116
00:58:12,030 --> 00:58:13,817
Let's do it.

1117
00:58:13,824 --> 00:58:16,908
[band plays "Never My Love"]

1118
00:58:26,003 --> 00:58:30,998
<i>♪ Well, you ask me if there'll come a time ♪</i>

1119
00:58:31,174 --> 00:58:34,758
<i>♪ When I'll grow tired of you ♪</i>

1120
00:58:36,680 --> 00:58:38,967
<i>♪ Never my love ♪</i>

1121
00:58:41,977 --> 00:58:44,264
<i>♪ Never my love ♪</i>

1122
00:58:47,482 --> 00:58:52,193
<i>♪ You wonder if this heart of mine ♪</i>

1123
00:58:52,654 --> 00:58:56,147
<i>♪ Will lose its desire for you ♪</i>

1124
00:58:57,993 --> 00:59:00,076
<i>♪ Never my love ♪</i>

1125
00:59:03,415 --> 00:59:05,577
<i>♪ Never my love ♪</i>

1126
00:59:08,712 --> 00:59:12,456
<i>♪ Now, how can you think love will end ♪</i>

1127
00:59:12,466 --> 00:59:16,585
<i>♪ When I've asked you
to spend your whole life ♪</i>

1128
00:59:19,973 --> 00:59:22,056
<i>♪ With me ♪</i>

1129
00:59:22,267 --> 00:59:25,556
<i>♪ (With me, with me) ♪</i>

1130
00:59:27,481 --> 00:59:31,976
<i>♪ Buh-buh buh, Buh-buh ♪</i>

1131
00:59:32,736 --> 00:59:36,104
<i>♪ Buh-buh-buh ♪</i>

1132
00:59:38,116 --> 00:59:40,324
<i>♪ Never my love ♪</i>

1133
00:59:43,413 --> 00:59:45,655
<i>♪ Never my love ♪</i>

1134
00:59:48,710 --> 00:59:52,329
<i>♪ What makes you think love will end ♪</i>

1135
00:59:52,339 --> 00:59:56,379
<i>♪ When I've asked you
to spend your whole life ♪</i>

1136
01:00:00,097 --> 01:00:01,759
<i>♪ With me ♪</i>

1137
01:00:02,349 --> 01:00:05,763
<i>♪ With me ♪</i>

1138
01:00:07,395 --> 01:00:11,810
<i>♪ Buh-buh, buh-buh, Buh-buh ♪</i>

1139
01:00:12,776 --> 01:00:15,814
<i>♪ Buh-buh, buh-buh ♪</i>

1140
01:00:18,073 --> 01:00:20,190
<i>♪ Never my love ♪</i>

1141
01:00:23,495 --> 01:00:25,657
<i>♪ Never my love ♪</i>

1142
01:00:26,498 --> 01:00:29,081
[audience cheers]

1143
01:00:34,881 --> 01:00:36,838
<i>I was driving down Sunset
and I turned on</i>

1144
01:00:36,842 --> 01:00:39,129
<i>one of those roads
that leads up into the hills</i>

1145
01:00:39,136 --> 01:00:41,344
<i>and I stopped at this place
that overlooks the whole city.</i>

1146
01:00:41,346 --> 01:00:42,928
<i>It was fantastic.</i>

1147
01:00:42,931 --> 01:00:45,093
<i>I suddenly felt exhilarated there.</i>

1148
01:00:45,517 --> 01:00:48,134
<i>I was really moved
by the geometry of the place,</i>

1149
01:00:48,145 --> 01:00:49,306
<i>its harmony.</i>

1150
01:00:50,438 --> 01:00:52,145
<i>It's a fabulous city.</i>

1151
01:00:53,400 --> 01:00:55,312
<i>To think some people
claim it's an ugly city</i>

1152
01:00:55,318 --> 01:00:57,901
<i>when it's really pure poetry,
it just kills me.</i>

1153
01:00:58,363 --> 01:01:02,152
<i>I wanted to build something right then,
create something.</i>

1154
01:01:07,956 --> 01:01:09,163
McGUlNN: I used to love L.A.

1155
01:01:09,166 --> 01:01:11,249
when I was first there in the early 60s.

1156
01:01:11,251 --> 01:01:14,039
You can drive around and smell
the orange blossoms, you know.

1157
01:01:14,045 --> 01:01:15,581
It was really cool.

1158
01:01:16,006 --> 01:01:17,838
We moved into Laurel Canyon

1159
01:01:17,841 --> 01:01:19,582
and we just loved the scene there.

1160
01:01:19,593 --> 01:01:21,630
And a lot of people,
a lot of folk singers would come around

1161
01:01:21,636 --> 01:01:24,174
and play and we'd,
you know, get high and stuff.

1162
01:01:24,181 --> 01:01:25,672
It was fan... a fun time.

1163
01:01:25,682 --> 01:01:28,720
Just driving up those canyons
and people pointing out houses

1164
01:01:28,727 --> 01:01:30,343
of famous people that lived there,

1165
01:01:30,353 --> 01:01:33,016
Houdini and Tom Mix and Zappa

1166
01:01:33,023 --> 01:01:35,481
and, you know, it was a fabulous time.

1167
01:01:35,483 --> 01:01:38,976
["Somebody Groovy"
by The Mamas & the Papas]

1168
01:01:42,574 --> 01:01:46,158
<i>♪ I need somebody groovy ♪</i>

1169
01:01:46,494 --> 01:01:50,454
<i>♪ Someone who's able to move me, yeah ♪</i>

1170
01:01:51,625 --> 01:01:54,493
PETTY: Any time you
drove by the Canyon Store

1171
01:01:54,502 --> 01:01:56,243
you saw some pop hero.

1172
01:01:57,005 --> 01:02:00,214
[chuckles]
There's David Crosby, you know!

1173
01:02:00,217 --> 01:02:02,504
BROWNE: There were people
from everywhere in Laurel Canyon.

1174
01:02:02,510 --> 01:02:04,342
In '66 it was teeming.

1175
01:02:04,346 --> 01:02:05,678
And you might see anybody.

1176
01:02:05,680 --> 01:02:08,218
Like I one time saw
Crosby blow through there

1177
01:02:08,225 --> 01:02:09,932
and scoop up these two girls.

1178
01:02:09,935 --> 01:02:11,892
And he was wearing a cape, by the way.

1179
01:02:11,895 --> 01:02:13,978
[chuckles]
[swooping noise]

1180
01:02:13,980 --> 01:02:16,142
Disappeared, you know, into the night!

1181
01:02:16,149 --> 01:02:18,687
Frank Zappa lived across the street.

1182
01:02:18,693 --> 01:02:20,901
And he once stood in the middle of the street

1183
01:02:20,904 --> 01:02:24,113
reading me the lyrics of
"Who Are The Brain Police",

1184
01:02:24,115 --> 01:02:26,983
like Alan Ginsberg. It was...

1185
01:02:27,661 --> 01:02:29,903
And I kept going whoa! Whoa! Whoa!

1186
01:02:31,039 --> 01:02:35,955
And then I heard Frank Zappa
do an orchestration

1187
01:02:35,961 --> 01:02:38,704
on a track without the yelling over it.

1188
01:02:38,964 --> 01:02:42,002
And it was... it was otherworldly.

1189
01:02:42,008 --> 01:02:44,500
It was really... really incredible.

1190
01:02:44,511 --> 01:02:47,094
There's not the kind of scene
there is in New York

1191
01:02:47,097 --> 01:02:49,510
and the east coast cities
where there's a club you go to.

1192
01:02:49,516 --> 01:02:52,509
We would go over to people's houses

1193
01:02:52,519 --> 01:02:55,683
and yak it up for hours and hours!

1194
01:02:55,689 --> 01:02:57,271
And play music, you know.

1195
01:02:57,274 --> 01:02:59,106
All kinds of music all the time.

1196
01:02:59,317 --> 01:03:02,526
[Stills playing guitar]

1197
01:03:11,454 --> 01:03:13,491
McGUlNN: I wrote a song
with Brian Wilson one time.

1198
01:03:13,498 --> 01:03:14,989
Brian came over to my house.

1199
01:03:15,000 --> 01:03:17,663
I said wow.
He had never come over before.

1200
01:03:17,669 --> 01:03:20,412
And he came up and he said,
"You got any speed?"

1201
01:03:20,422 --> 01:03:22,630
And I said, "I think so."
I went to the medicine cabinet

1202
01:03:22,632 --> 01:03:25,090
and I gave him two Biphetamine 20s.

1203
01:03:25,093 --> 01:03:26,800
He... he wanted two.

1204
01:03:26,803 --> 01:03:29,716
And this is about,
mm, 4:00 in the afternoon.

1205
01:03:29,723 --> 01:03:31,589
We started playing a song.
It was like a...

1206
01:03:31,599 --> 01:03:33,465
[plays guitar]

1207
01:03:33,476 --> 01:03:35,559
Okay, we're playing that
and we're playing that and playing that.

1208
01:03:35,562 --> 01:03:38,646
And it finally gets dark and I go to bed.

1209
01:03:38,648 --> 01:03:41,106
And, you know, seven,
eight hours later I got up

1210
01:03:41,109 --> 01:03:43,817
and Brian is still at the piano going...

1211
01:03:43,820 --> 01:03:45,982
- Still playing the same figure?
- Yeah, same song, yeah!

1212
01:03:45,989 --> 01:03:47,821
- Really fast.
- It's only got one verse.

1213
01:03:47,824 --> 01:03:50,362
And they finally released it,
called it "Ding Dang".

1214
01:03:50,368 --> 01:03:52,451
And whenever I see Brian
these days he points at me

1215
01:03:52,454 --> 01:03:53,570
and goes "Ding dang!"

1216
01:03:53,580 --> 01:03:54,580
[both chuckle]

1217
01:03:54,581 --> 01:03:56,994
There's a lot of strange stuff happening here.

1218
01:03:57,000 --> 01:04:01,836
George and I just drove up
to wherever Micky Dolenz lived

1219
01:04:01,838 --> 01:04:05,832
and Stephen Stills was there
and several other people.

1220
01:04:06,509 --> 01:04:09,092
And they were all
being hippies in the nude.

1221
01:04:09,095 --> 01:04:11,007
And when they saw
it was George and I driving

1222
01:04:11,014 --> 01:04:13,176
they all run in and got dressed!
[both laugh]

1223
01:04:13,183 --> 01:04:16,347
And we were going
well, that's not very hippie.

1224
01:04:16,353 --> 01:04:18,686
You just felt like
you could do anything, you know.

1225
01:04:18,688 --> 01:04:22,477
You just felt like
there was nothing stopping you,

1226
01:04:22,484 --> 01:04:25,192
is the way that...
and Hollywood was right there

1227
01:04:25,195 --> 01:04:28,233
and the music industry, or a good part of it.

1228
01:04:28,239 --> 01:04:30,856
And Sunset Boulevard, you know.

1229
01:04:31,659 --> 01:04:34,493
It just... it reeked of what happened in the 40s

1230
01:04:34,496 --> 01:04:39,491
with the movie stars and that lifestyle.

1231
01:04:39,793 --> 01:04:44,504
And, in a sense,
we emulated it in a different way.

1232
01:04:44,839 --> 01:04:47,502
There's a certain thing
about freedom of spirit,

1233
01:04:47,509 --> 01:04:50,502
a certain thing about lack of rules,

1234
01:04:50,512 --> 01:04:54,096
lack of previous stuff holding you in place.

1235
01:04:54,808 --> 01:04:57,175
Certain people wound up,
you know, in certain places

1236
01:04:57,185 --> 01:04:59,427
and chemistries happened

1237
01:04:59,437 --> 01:05:02,396
and they inspired other
chemistries around them.

1238
01:05:03,400 --> 01:05:05,938
NASH: I kind of compare it with
Vienna at the turn of the century

1239
01:05:05,944 --> 01:05:09,187
when all those architects
and painters and furniture builders

1240
01:05:09,197 --> 01:05:10,904
would drink massive amounts of coffee,

1241
01:05:10,907 --> 01:05:13,365
and what are you doing
and what are you working on now?

1242
01:05:13,368 --> 01:05:16,031
Paris in the 30s with Gertrude Stein and all,

1243
01:05:16,037 --> 01:05:18,029
you know, all those artists coming together.

1244
01:05:18,039 --> 01:05:22,204
But I think this era, in time,
is gonna be treated exactly the same way

1245
01:05:22,210 --> 01:05:24,623
in a couple of hundred years by the historians.

1246
01:05:26,047 --> 01:05:29,006
The power of music is undeniable.

1247
01:05:29,717 --> 01:05:32,300
I truly believe it can change the world.

1248
01:05:32,303 --> 01:05:33,339
I do.

1249
01:05:33,888 --> 01:05:35,470
Small ways, but...

1250
01:05:39,018 --> 01:05:40,475
I'm not letting this go!

1251
01:05:45,400 --> 01:05:49,815
[band begins playing "Goin' Back"]

1252
01:06:01,916 --> 01:06:04,659
<i>♪ I think I'm goin' back ♪</i>

1253
01:06:05,462 --> 01:06:09,206
<i>♪ To the things I learned so well ♪</i>

1254
01:06:09,215 --> 01:06:11,002
<i>♪ In my youth ♪</i>

1255
01:06:13,845 --> 01:06:16,588
<i>♪ I think I'm returning to ♪</i>

1256
01:06:17,307 --> 01:06:21,176
<i>♪ Those days when I was young enough ♪</i>

1257
01:06:21,186 --> 01:06:23,178
<i>♪ To know the truth ♪</i>

1258
01:06:25,356 --> 01:06:27,848
<i>♪ Now there are no games ♪</i>

1259
01:06:28,985 --> 01:06:31,648
<i>♪ To only pass the time ♪</i>

1260
01:06:33,031 --> 01:06:35,694
<i>♪ No more electric trains ♪</i>

1261
01:06:36,951 --> 01:06:39,785
<i>♪ No more trees to climb ♪</i>

1262
01:06:41,664 --> 01:06:45,999
<i>♪ But thinking young and growing older ♪</i>

1263
01:06:46,002 --> 01:06:47,664
<i>♪ Is no sin ♪</i>

1264
01:06:49,797 --> 01:06:54,667
<i>♪ And I can play the game of life to win ♪</i>

1265
01:06:57,847 --> 01:07:00,715
<i>♪ I can recall the time ♪</i>

1266
01:07:01,434 --> 01:07:07,021
<i>♪ When I wasn't afraid
to reach out to a friend ♪</i>

1267
01:07:09,734 --> 01:07:12,397
<i>♪ Now I think I've got ♪</i>

1268
01:07:13,571 --> 01:07:18,942
<i>♪ A lot more than just my toys to lend ♪</i>

1269
01:07:20,870 --> 01:07:23,112
<i>♪ Now there's more to do ♪</i>

1270
01:07:24,415 --> 01:07:27,203
<i>♪ Than watch my sailboat glide ♪</i>

1271
01:07:28,461 --> 01:07:32,455
<i>♪ And every day can be ♪</i>

1272
01:07:32,465 --> 01:07:35,333
<i>♪ A magic carpet ride ♪</i>

1273
01:07:37,220 --> 01:07:40,384
<i>♪ A little bit of courage ♪</i>

1274
01:07:41,057 --> 01:07:43,094
<i>♪ Is all we lack ♪</i>

1275
01:07:45,061 --> 01:07:48,179
<i>♪ So catch me if you can ♪</i>

1276
01:07:48,856 --> 01:07:51,018
<i>♪ I'm goin' back ♪</i>

1277
01:07:54,737 --> 01:07:59,823
<i>♪ La la la
la-la la la la, la-la la la ♪</i>

1278
01:08:02,745 --> 01:08:07,991
<i>♪ La la la, la-la la la la,
la-la la la ♪</i>

1279
01:08:18,136 --> 01:08:22,631
<i>♪ La la la, la-la la la la,
la-la la la ♪</i>

1280
01:08:22,640 --> 01:08:24,506
McGUlNN: You know, the politics in bands

1281
01:08:24,517 --> 01:08:25,928
it gets pretty heavy sometimes,

1282
01:08:25,935 --> 01:08:28,769
especially when one guy's
getting more songs on the record

1283
01:08:28,771 --> 01:08:30,137
than somebody else.

1284
01:08:30,148 --> 01:08:32,606
And David had written
this song about a ménage à trios.

1285
01:08:32,609 --> 01:08:33,645
["Triad" by David Crosby]

1286
01:08:33,651 --> 01:08:38,612
<i>♪ What can we do
now that we both love you ♪</i>

1287
01:08:41,200 --> 01:08:44,318
<i>♪ I love you too ♪</i>

1288
01:08:45,663 --> 01:08:48,406
<i>♪ And I don't really see ♪</i>

1289
01:08:48,416 --> 01:08:52,877
<i>♪ Why can't we go on as three ♪</i>

1290
01:08:53,463 --> 01:08:54,704
McGUlNN: I didn't think it was appropriate

1291
01:08:54,714 --> 01:08:56,000
for what we were doing,

1292
01:08:56,007 --> 01:08:58,249
but he thought it was
cool and hip and everything.

1293
01:08:58,259 --> 01:09:01,718
And we decided
to do a Goffin and King song

1294
01:09:01,721 --> 01:09:04,964
called "Going Back"
and he was just up in arms about that.

1295
01:09:05,350 --> 01:09:06,807
CROSBY: It just wasn't, you know,

1296
01:09:06,809 --> 01:09:09,347
something that they thought
was in good taste, you know.

1297
01:09:09,354 --> 01:09:12,142
It was risqué,
it was out on the edge, you know.

1298
01:09:12,148 --> 01:09:13,889
To me it's not out on the edge at all.

1299
01:09:13,900 --> 01:09:15,232
It's just a love song.

1300
01:09:15,234 --> 01:09:16,600
It has happened.

1301
01:09:16,903 --> 01:09:19,020
I mean otherwise the French
wouldn't have a name for it!

1302
01:09:19,030 --> 01:09:21,067
NASH: It wasn't so much
David writing the song.

1303
01:09:21,074 --> 01:09:24,818
It was the realization that
he actually lived it, many times.

1304
01:09:24,827 --> 01:09:26,693
That was what pissed me off.

1305
01:09:26,704 --> 01:09:28,821
He knows it was a naughty song to write.

1306
01:09:28,831 --> 01:09:31,369
You gotta remember, Crosby was like Brando.

1307
01:09:31,376 --> 01:09:32,833
He had no boundaries.

1308
01:09:32,835 --> 01:09:35,418
McGUlNN: Carole and Gerry
had moved from New York to L.A.

1309
01:09:35,421 --> 01:09:37,504
and they had starting writing songs that...

1310
01:09:37,507 --> 01:09:40,170
not the kind of girl band stuff
they'd been doing.

1311
01:09:40,176 --> 01:09:43,715
But more of like a hipper style.

1312
01:09:43,721 --> 01:09:47,010
And David was...
he was, um, insufferable.

1313
01:09:47,016 --> 01:09:48,382
He was tough to live with.

1314
01:09:48,393 --> 01:09:50,055
He didn't get his cool song on

1315
01:09:50,061 --> 01:09:53,520
and we did this kind of
really commercial song instead.

1316
01:09:53,523 --> 01:09:55,185
So, he was angry with that.

1317
01:09:55,191 --> 01:09:57,604
The breaking point
really was when Chris Hillman

1318
01:09:57,610 --> 01:10:00,728
got mad at David
and said we gotta get rid of him.

1319
01:10:00,738 --> 01:10:02,570
The fun thing is that
everybody thinks that

1320
01:10:02,573 --> 01:10:04,280
that's why they
threw me out of The Byrds.

1321
01:10:04,283 --> 01:10:05,444
Ladies and gentlemen,

1322
01:10:07,370 --> 01:10:09,908
They threw me out of The Byrds
'cause I was an asshole.

1323
01:10:09,914 --> 01:10:11,450
He was saying things like
you guys are not

1324
01:10:11,457 --> 01:10:13,824
good enough musicians
to be playing with me.

1325
01:10:13,835 --> 01:10:16,202
I went oh, really?
[chuckles]

1326
01:10:16,212 --> 01:10:17,999
- That's not cool, you know!
- Yeah.

1327
01:10:18,005 --> 01:10:19,667
So, we didn't like that attitude very much.

1328
01:10:19,674 --> 01:10:21,666
You know, I say
it's because I was an asshole.

1329
01:10:21,676 --> 01:10:23,212
It wasn't that simple, of course.

1330
01:10:23,219 --> 01:10:24,881
If you give kids millions of dollars, you know,

1331
01:10:24,887 --> 01:10:26,003
they'll screw up.

1332
01:10:26,013 --> 01:10:27,845
We held it together for a pretty long time.

1333
01:10:27,849 --> 01:10:30,387
Bands tend to devolve.

1334
01:10:30,393 --> 01:10:32,476
They evolve up the point where they're exciting

1335
01:10:32,478 --> 01:10:34,140
and they're new and they're good,

1336
01:10:34,147 --> 01:10:36,355
and then after that they
work their way slowly downhill

1337
01:10:36,357 --> 01:10:38,895
until it's turn on the smoke machine
and play your hits.

1338
01:10:38,901 --> 01:10:40,688
And that's not good enough for me.

1339
01:10:41,237 --> 01:10:42,569
It's just not.

1340
01:10:42,822 --> 01:10:44,279
I've done it.

1341
01:10:44,282 --> 01:10:46,148
You know, 'cause it was
the path of least resistance

1342
01:10:46,159 --> 01:10:48,867
and it made me lots of money
and all that good stuff.

1343
01:10:48,870 --> 01:10:50,202
It's not good enough.

1344
01:10:51,080 --> 01:10:53,538
<i>♪ Now there's more to do ♪</i>

1345
01:10:54,709 --> 01:10:57,622
<i>♪ Than watch my sailboat glide ♪</i>

1346
01:10:58,838 --> 01:11:01,751
<i>♪ And every day can be ♪</i>

1347
01:11:02,842 --> 01:11:05,550
<i>♪ A magic carpet ride ♪</i>

1348
01:11:07,597 --> 01:11:10,681
<i>♪ A little bit of courage ♪</i>

1349
01:11:11,350 --> 01:11:13,387
<i>♪ Is all we lack ♪</i>

1350
01:11:15,438 --> 01:11:19,182
<i>♪ So catch me if you can ♪</i>

1351
01:11:19,192 --> 01:11:21,650
<i>♪ I'm goin' back ♪</i>

1352
01:11:23,362 --> 01:11:28,528
<i>♪ La la la, la-la la la la,
la-la la la La la la, la-la ♪</i>

1353
01:11:31,162 --> 01:11:34,530
<i>♪ La la la, la-la ♪</i>

1354
01:11:35,500 --> 01:11:39,710
[audience cheers]

1355
01:11:42,507 --> 01:11:44,715
REPORTER: I feel like
we hear these songs,

1356
01:11:44,717 --> 01:11:46,925
we grew up with these songs,
and then we take them for granted

1357
01:11:46,928 --> 01:11:49,341
and I feel like there's
this thing happening tonight

1358
01:11:49,347 --> 01:11:51,464
and in your hands,
and in this band's hands,

1359
01:11:51,474 --> 01:11:53,181
where you're kind of
bringing them back to life

1360
01:11:53,184 --> 01:11:54,470
and reminding us of the brilliance.

1361
01:11:54,477 --> 01:11:55,843
Can you talk a little about that?

1362
01:11:55,853 --> 01:12:00,723
It really started with, ah, seeing this film,

1363
01:12:00,733 --> 01:12:02,315
which was "Model Shop".

1364
01:12:02,318 --> 01:12:05,561
And it was a movie
in '67 done by Jacques Demy.

1365
01:12:05,571 --> 01:12:09,565
That movie looked like
the sound of The Beach Boys

1366
01:12:09,575 --> 01:12:11,111
and The Mamas & Papas.

1367
01:12:11,118 --> 01:12:15,203
And so, it sent us on
an exploration back to that time

1368
01:12:15,206 --> 01:12:18,495
and to look at the records
that, you know, made, ah,

1369
01:12:18,501 --> 01:12:21,369
made that age of innocence
of southern California writing

1370
01:12:21,379 --> 01:12:24,838
from '65 to '67, you know, come alive.

1371
01:12:25,299 --> 01:12:26,835
Most of the groups
that we're talking about,

1372
01:12:26,843 --> 01:12:29,506
that we've picked from,
I think they were...

1373
01:12:29,512 --> 01:12:32,220
those are the ones that are the premier
southern California rock bands

1374
01:12:32,223 --> 01:12:34,806
from that year at that time.

1375
01:12:37,687 --> 01:12:41,522
CROSBY: Something happened
there that engendered

1376
01:12:41,524 --> 01:12:45,017
a whole lot of music, a whole lot of

1377
01:12:45,027 --> 01:12:49,021
new ways of approaching the music possible.

1378
01:12:49,991 --> 01:12:51,857
Whatever it was, it was a good thing.

1379
01:12:52,285 --> 01:12:55,369
DYLAN: I don't think you have
to put too much effort into it, really.

1380
01:12:55,371 --> 01:12:57,283
I think they're classics.
They're timeless.

1381
01:12:57,290 --> 01:13:01,204
And a good song will sound
as good then as it'll sound today.

1382
01:13:01,210 --> 01:13:04,078
You don't have to do much.
We didn't reinvent them at all.

1383
01:13:04,088 --> 01:13:05,954
We actually stayed
pretty true to what they sounded like.

1384
01:13:05,965 --> 01:13:08,298
And oddly enough,
that sound is pretty relevant.

1385
01:13:08,301 --> 01:13:09,963
It's pretty current right now.

1386
01:13:11,637 --> 01:13:13,094
CROSBY: I think, you know,
people have been trying

1387
01:13:13,097 --> 01:13:14,713
to put salt on its tail for a long time,

1388
01:13:14,724 --> 01:13:17,216
trying to figure out why it happened there

1389
01:13:17,226 --> 01:13:19,013
and how it happened there.

1390
01:13:19,020 --> 01:13:23,105
And I... you can guess

1391
01:13:23,107 --> 01:13:24,814
and you can point out certain factors

1392
01:13:24,817 --> 01:13:26,900
that you think would
have been influencing it.

1393
01:13:27,111 --> 01:13:30,650
But I don't know if we'll ever get it named.

1394
01:13:31,490 --> 01:13:32,776
It did happen.

1395
01:13:33,075 --> 01:13:36,910
And it still is a place
where people come to make music.

1396
01:13:39,415 --> 01:13:43,955
BECK: Maybe it started with
this optimism of The Beatles

1397
01:13:43,961 --> 01:13:48,046
to Ed Sullivan was the beginning of '64,

1398
01:13:48,049 --> 01:13:52,510
so that is the perfect kickoff
where there's this fad, right?

1399
01:13:52,720 --> 01:13:56,009
People want to be their own Beatles.

1400
01:13:56,349 --> 01:14:00,184
And then so that lasts for two,
two and a half years.

1401
01:14:00,186 --> 01:14:01,722
Well, it probably changed a lot when

1402
01:14:01,729 --> 01:14:04,437
everybody started writing
more complex, longer songs,

1403
01:14:04,440 --> 01:14:07,057
which is kind of up until
Pet Sounds and Expecting to Fly.

1404
01:14:07,068 --> 01:14:09,151
Songs were three and a half minutes
and they could do...

1405
01:14:09,153 --> 01:14:11,190
they realized they could do a lot more.

1406
01:14:11,197 --> 01:14:13,655
Don't you feel like some of these songs

1407
01:14:13,658 --> 01:14:17,277
structurally, like word-wise and sound-wise,

1408
01:14:17,286 --> 01:14:20,950
they're almost like more related to dreams?

1409
01:14:20,957 --> 01:14:23,700
Because they feel like
music before was more written

1410
01:14:23,709 --> 01:14:26,452
for like the conscious mind
and this seems to be like more

1411
01:14:26,462 --> 01:14:29,500
coming in touch with the subconscious,

1412
01:14:29,507 --> 01:14:32,045
which is on the way to psychedelia probably,

1413
01:14:32,051 --> 01:14:33,838
just that in-between?

1414
01:14:33,844 --> 01:14:35,631
Well I think we talked about
"Expecting To Fly"

1415
01:14:35,638 --> 01:14:38,255
and maybe that's the end of it?

1416
01:14:39,850 --> 01:14:41,216
You know?

1417
01:14:41,227 --> 01:14:43,719
I'm not sure I would be the one
to say why it's the end of it,

1418
01:14:43,729 --> 01:14:45,812
but that's very different than
everything else we listened to

1419
01:14:45,815 --> 01:14:48,148
and I wouldn't say more ambitious,

1420
01:14:48,150 --> 01:14:51,689
but it seemed like something
cracked open maybe right then.

1421
01:14:53,864 --> 01:14:58,859
BECK: That era begins with
this collective idea of these

1422
01:14:59,412 --> 01:15:01,779
musicians and this
creative force coming together

1423
01:15:01,789 --> 01:15:02,950
to make something bigger.

1424
01:15:02,957 --> 01:15:06,951
And then the era ends
when it becomes more

1425
01:15:06,961 --> 01:15:08,623
about the individual,

1426
01:15:08,629 --> 01:15:12,919
yeah, searching their
own life and their own path

1427
01:15:12,925 --> 01:15:17,386
and, ah, yeah, you get
all these groups breaking up.

1428
01:15:17,888 --> 01:15:21,006
When you have strong minded people

1429
01:15:21,017 --> 01:15:24,681
and they're having these
visions of a new type of art

1430
01:15:24,687 --> 01:15:28,522
and they start to compromise,
then it just doesn't last maybe.

1431
01:15:30,151 --> 01:15:32,234
What do you remember about
"Expecting To Fly"?

1432
01:15:32,236 --> 01:15:33,317
'Cause we recorded that for the record.

1433
01:15:33,320 --> 01:15:34,606
What do you remember
about recording that song?

1434
01:15:34,613 --> 01:15:36,696
Actually, I wasn't allowed on those sessions.

1435
01:15:36,699 --> 01:15:37,615
You're not on that at all?

1436
01:15:37,616 --> 01:15:41,075
No, that's when Neil
had decided to take flight.

1437
01:15:41,078 --> 01:15:43,320
- That song was a warning.
- Was it?

1438
01:15:43,330 --> 01:15:45,697
- Yes, I'm leaving.
- Really?

1439
01:15:45,708 --> 01:15:48,200
And I'm going to wait until it's absolutely

1440
01:15:48,210 --> 01:15:51,203
critically important
to the survival of the band,

1441
01:15:51,213 --> 01:15:54,957
like the night before Johnny Carson
booked the first rock band.

1442
01:15:55,760 --> 01:15:58,753
Neil quit the day before
we we're getting on the plane.

1443
01:16:01,348 --> 01:16:04,307
[band tunes up]

1444
01:16:09,440 --> 01:16:12,683
[band plays "Expecting To Fly"]

1445
01:16:16,822 --> 01:16:18,688
[audience cheers]

1446
01:16:30,503 --> 01:16:35,498
<i>♪ There you stood on the edge of your feather ♪</i>

1447
01:16:36,884 --> 01:16:40,673
<i>♪ Expecting to fly ♪</i>

1448
01:16:42,431 --> 01:16:47,426
<i>♪ While I laughed
and I wondered whether ♪</i>

1449
01:16:48,687 --> 01:16:52,556
<i>♪ I could wave goodbye ♪</i>

1450
01:16:54,944 --> 01:16:59,188
<i>♪ Knowin' that you'd gone ♪</i>

1451
01:17:03,869 --> 01:17:08,830
<i>♪ By the summer it was healing ♪</i>

1452
01:17:10,084 --> 01:17:13,043
<i>♪ And we had said goodbye ♪</i>

1453
01:17:14,880 --> 01:17:19,716
<i>♪ All the years we'd spent with feeling ♪</i>

1454
01:17:21,178 --> 01:17:23,921
<i>♪ Ended with a cry ♪</i>

1455
01:17:25,349 --> 01:17:28,683
<i>♪ Babe ♪</i>

1456
01:17:29,562 --> 01:17:32,225
<i>♪ Ended with a cry ♪</i>

1457
01:17:33,524 --> 01:17:36,517
<i>♪ Babe ♪</i>

1458
01:17:37,736 --> 01:17:40,479
<i>♪ Ended with a cry ♪</i>

1459
01:17:44,869 --> 01:17:48,033
[music continues]

1460
01:17:57,047 --> 01:18:02,634
<i>♪ I tried so hard to stand as I stumbled ♪</i>

1461
01:18:03,888 --> 01:18:07,802
<i>♪ And fell to the ground ♪</i>

1462
01:18:08,893 --> 01:18:11,886
<i>♪ So hard to laugh ♪</i>

1463
01:18:11,896 --> 01:18:14,388
<i>♪ As I fumbled ♪</i>

1464
01:18:15,524 --> 01:18:20,019
<i>♪ And reached for the love I found ♪</i>

1465
01:18:21,697 --> 01:18:25,691
<i>♪ Knowin' it was gone ♪</i>

1466
01:18:30,581 --> 01:18:35,576
<i>♪ If I never lived without you ♪</i>

1467
01:18:37,087 --> 01:18:40,046
<i>♪ Now you know I'd die ♪</i>

1468
01:18:41,592 --> 01:18:46,462
<i>♪ If I never said I loved you ♪</i>

1469
01:18:47,848 --> 01:18:50,807
<i>♪ Well now you know I'd try ♪</i>

1470
01:18:52,186 --> 01:18:55,304
<i>♪ Babe ♪</i>

1471
01:18:56,232 --> 01:18:58,849
<i>♪ Now you know I'd try ♪</i>

1472
01:19:00,486 --> 01:19:03,479
<i>♪ Babe ♪</i>

1473
01:19:04,615 --> 01:19:07,198
<i>♪ Now you know I'd try ♪</i>

1474
01:19:08,661 --> 01:19:12,200
<i>♪ Babe ♪</i>

1475
01:19:12,873 --> 01:19:15,786
<i>♪ Now you know I'd try ♪</i>

1476
01:19:16,335 --> 01:19:18,201
[applause]

1477
01:19:18,212 --> 01:19:21,831
[music rewinds]

1478
01:19:28,430 --> 01:19:31,298
["What's Happening?!?!",
Jakob Dylan singing]

1479
01:19:31,308 --> 01:19:33,220
<i>♪ I don't know ♪</i>

1480
01:19:36,814 --> 01:19:39,431
<i>♪ What's going on here ♪</i>

1481
01:19:40,651 --> 01:19:42,608
<i>♪ And I don't know ♪</i>

1482
01:19:45,155 --> 01:19:48,739
<i>♪ How it's supposed to be ♪</i>

1483
01:19:50,995 --> 01:19:54,659
[music continues]

1484
01:20:01,797 --> 01:20:03,834
<i>♪ Oh, I don't have ♪</i>

1485
01:20:07,303 --> 01:20:09,886
<i>♪ The vaguest notion ♪</i>

1486
01:20:11,223 --> 01:20:12,964
<i>♪ Whose it is ♪</i>

1487
01:20:16,603 --> 01:20:20,813
<i>♪ Or what it's all for ♪</i>

1488
01:20:21,608 --> 01:20:24,476
[music continues]

1489
01:20:32,453 --> 01:20:34,319
<i>♪ I don't know ♪</i>

1490
01:20:37,875 --> 01:20:40,709
<i>♪ And I'm not cryin' ♪</i>

1491
01:20:41,712 --> 01:20:44,204
<i>♪ Laughin' mostly ♪</i>

1492
01:20:47,217 --> 01:20:51,336
<i>♪ As you can see ♪</i>

1493
01:20:52,181 --> 01:20:55,800
[music continues]