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Today's album, Carole King's, 1971 Masterpiece Tapestry.

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How does a quiet unassuming album become a monster

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hit and an instant classic?

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We'll explore coming up and you'll hear it.

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I am Adam Maness. And I'm

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Peter Martin. And you're listening to

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the You'll Hear It Podcast, music

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Explored, brought to today by Open Studio.

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Go to openstudiojazz.com for all your jazz lesson needs.

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Peter, we got a new season. I

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Love this record. I wanna give you

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a visual. Okay.

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If you're not on YouTube, you

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might wanna go over to YouTube.

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He's hugging the record. Yes.

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This is a great, this is a cozy

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record, as the kids would say. It's cozy AF

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Right? It's so cozy.

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It's, I mean, it's organic, it's cozy.

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There's a cat on the cover. There's

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A tapestry on the inside. There's

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a cat out of focus.

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We're talking about none other than the great,

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the legendary Carole King with her album.

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Her Ooh, her opus. What? Opus. Okay.

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Yeah. You know, come on. New season. Same jokes, man.

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You know how this goes tapestry.

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It is a masterpiece, man. Yes.

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It's one of the greatest albums

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of all time on everybody's lists.

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And like, that's probably not everybody,

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But Many, many people. But

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it's not even controversial. It's so good.

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The songwriting is so okay. But

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Don't make it sound like it's like a quarter pounder.

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Everybody loves it. This is some high art, my friend.

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It is high art. No, it's, it's actually wonderful.

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You know what it is. It's, it's high art,

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but it's wonderful craftsmanship.

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Like, we're gonna talk a little bit about just

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what a great songwriter Carole King is.

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I know that's a news flash for a lot of people,

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but like, just the quality of like, oh, yeah.

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How the lyrics tell the story in such a tight way. Yeah.

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I mean, she's coming from this songwriter's background

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and it shows, but also like how the music,

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how the chord progressions, like lift the lyrics up,

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tell the story that she's trying to tell.

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She's a true master. And on this album, 1971,

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she's 29 years old.

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She's come into her own.

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She's really, you know, she's a grownup

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and she's doing her thing.

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Uh, she didn't start that way though.

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She started this business as a

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16-year-old. Did you know that?

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Yeah. Well, she started in this world as a newborn.

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Well, if we wanna go all the way back,

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but I like, I like where, I

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like where you're going with this.

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No, her first single was when she was 16 years old

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in 1958.

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It's called The Right Girl.

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And guess what, Peter, even though she's 16, you know

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what? It's really good. It

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Is good.

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She's singing it with a vibe, man.

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Yeah. I mean, musically sound, catchy already. Yeah.

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Uh, she wrote the song

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and Don Costa did the arrangements to that one.

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Um, and then around this same time that Right Girl,

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the Right Girl came out,

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she was also working at the legendary Brill building.

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Yeah, right. Which is this legendary, uh, a songwriting.

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I don't even how you describe it. It's a machine. Yeah. It

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A factory's. A factory. A factory.

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I've been in there before.

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It's right on times in the building. Times Square.

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Yeah. Yeah. It's in Times Square, right?

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Yeah. It's like an office building still.

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Um, and they have, you know, it's, it's like one

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of those old with the elevator where you used

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to have an elevator operator and the, the whole thing.

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It's, it's, it's a cool place. Well,

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There she was making a lot of demos.

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So the process would be like a songwriter would wanna try

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to sell one of their songs to like a big artist.

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Right. And so they would have, wait, is

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This before Instagram or, This was, yeah.

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A few years before this

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In lieu Instagram. Got

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it. No. And so, and

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so there would just be these songwriters hanging out in the

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Brill Building and then these musicians hanging out

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who would record the demos of these songs so

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that the songwriters could then

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pitch them to the big artists.

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Carole King was doing that.

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And for a while she was doing that

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with another legendary singer songwriter, Paul Simon.

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Hello. Who we've had on the show

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with his incredible, so crazy.

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After all these years album.

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Uh, this is an interview that Paul did

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with the incredible Terry Gross about that time with Carol.

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Um, but the demos was really how I learned to record.

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That's how I learned about recording technique.

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'cause I was in the studio several days a week,

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and for a while I did a lot of demos with Carole King,

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and we worked as a, like a team

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because she could play, uh, drums and piano

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and I could play guitar and bass and we could sing the parts

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and make up background parts and do it pretty quickly.

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And what it was, was writers would, uh, have a song

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that they wanted some specific artist to sing.

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And, uh, they'd, you know, give you the song and you'd try

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and make it a, a demo that would appeal.

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That's Paul Simon. Yeah. On making demos with Carole Kings.

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So funny. Like, she played the drums.

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I know. And she played the piano and

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I played They were tracking it. Yeah.

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Yeah. But they were just kids. And here's a, a demo

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that they made that Carole King and Paul Simon made.

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Um, she wrote this song with her.

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What would who someone who'd become her

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musical and life partner.

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Uh, Jerry goin, Jerry Goer.

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This is called, this is Hilarious, dude.

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This is called Short Mort.

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Hey, short. Hey.

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Short. He

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Isn't very big.

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He's small inside. He isn't very smart.

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But he sure is wise.

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You keep tall, Paul. You can Tall Paul.

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They don't make songs like

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this 'cause they're not allowed to. I mean,

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Is this the greatest, most catchy body shaming

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song since the two?

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Fat Poka? I think it might be. She was 17. She was 17.

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She was 17. That's her and Paul Simon, uh, making the demo.

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She wrote that with Jerry Goffin,

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who she would later marry. Well,

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Right about that time Actually. Right

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about that time. And right about this time when she's

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17, her and Goffin had their very first big time hit.

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And it was by, uh, uh, a group called The Shires. Yeah. A

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Year later. 1960, a year

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Later. Yeah. She was

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17 when they wrote this song.

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How

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Good is that? That's it's

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great. And it was a huge hit. Yeah.

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This was a pop hit. This was a crossover pop hit.

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And I believe it was actually the first number one

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by any girl group.

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Yeah. Um, girl group, you know, like,

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like before The Supreme, it

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Started the whole Girl Group thing. Yeah.

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There was, there was boy groups,

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but this was The Girl, the very first number one

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hit Billboard Top hit. Well,

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She had a, she had a lot more hits actually

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after this, including this by The Drifters.

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All you have to do is touch my hand

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and something happens to me.

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What a song. Yeah. I love that. And

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I believe The Flow is like, she was generally writing all

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the music and Goffman was writing all the lyrics.

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Ob obviously, I

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Think it gets blurry, but Yeah, it

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Blurry. Yeah.

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But Carole King went on

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to write incredible lyrics as we're gonna hear as well.

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Yeah. Tapestry Both collaboratively or on her own.

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One more that she wrote for other people.

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That is one of my favorite. Oh.

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Because there's a version when I was a kid by the,

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the Immortal artist.

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Tiffany. Oh, Tiffany. Yes. Uh, but this The Prodigy.

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The Prodigy. But this is from, uh, little Ava.

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Oh, yeah. This

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Is written by Carole King.

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Yeah.

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Yeah. And it's amazing, like

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to see her so from the late fifties, kind

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of when she came into her own, well,

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early songwriting stylistically.

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I mean, this is the stuff like my,

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when my parents were in high school Yeah.

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My dad too, you know? Yeah, right, right.

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At that age, um, coming outta the, the, the doo-wop,

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Or what do you Call it? Yeah, yeah. doo-wop. Yeah.

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And all, all the songs have a doop kind of vibe. Vibe.

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Right. All that, that 1, 6, 4, 5

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chord progressions, you know what I mean? Chubby

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Checker, big Hits, hits that whole song.

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But then, I mean, it starts as the sixties come along.

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And she was instrumental in, in that as a songwriter.

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Like the music's changing.

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It's, I mean, obviously The Beatles. Yeah.

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Ever heard of them. They were kind of big with that too.

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But it's so interesting to hear how it goes.

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You know, what, from the, from that to Tapestry.

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We're gonna show you that in a second.

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But within 10 years. Yeah.

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Ish. Well, a little, a couple years later,

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she has a real breakthrough.

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And this is not just like a breakthrough for a songwriter.

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This is a cultural breakthrough. Yeah.

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When she writes this song for the Queen

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of Soul, Aretha Franklin,

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Looking out on the morning rain.

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I used to feel so inspired.

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I believe that's a riff on camera killing it. I had

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To face another day.

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Mr. Good arrangements on this one

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Before the day.

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The Strings man. The horns and the string.

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I think you've heard that before, haven't you? Little

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Influence. I might have ripped that

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off a couple times.

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But what we're hearing there too, especially on

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that Aretha Track, is like something we're gonna hear

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throughout Tapestry, which is the gospel influences in

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Carole King's songwriting lot. The Cross

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Pollinization Lot. Yeah.

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There's a lot of that going on.

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And you know, that 12 eight feel and the,

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And I believe this was one of the, I'm sure this was one

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of the Muscle Shoals sessions with those guys.

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I mean, the thing was Lady Soul,

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that's the record on Atlantic.

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Like this was a big record. Yeah. This was a massive, yeah.

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Massive, massive hit. And, um, that's interesting.

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'cause yeah, this was sort of, I guess sort

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of towards the end of Carole King and Gerry Goffin.

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Yeah. Collaboration and marriage and

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Everything. Yeah. I mean, they really

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did six, seven.

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They really did try to make it. Yeah.

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But it was too late, Peter. It was

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Two.

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Uh, but also with that tune

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and we're going, that's gonna make it a little,

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little foreshadowing that's

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gonna make an appearance on here, right?

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Yeah, yeah. Yeah.

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That's written by, um, Carole King and Jerry Goffin

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and also, so Jerry Wexler, you know,

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famously produced Lady Soul Atlantic Records, the godfather

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of that whole thing.

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Apparently the way that song was written, he was driving

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to New York and saw Carole King walking down the

255
00:12:04,125 --> 00:12:05,925
street and they knew each other.

256
00:12:05,925 --> 00:12:08,325
They worked together and said, Hey, Carol, I need a song

257
00:12:08,325 --> 00:12:09,805
for, uh, for Aretha.

258
00:12:09,825 --> 00:12:13,165
I'm thinking something natural woman. Something with that.

259
00:12:13,345 --> 00:12:16,085
No way. Yes. And Carole King went home. Jerry Wexler. Yeah.

260
00:12:16,085 --> 00:12:18,125
Jerry Wexler, like Natural Woman is like,

261
00:12:18,125 --> 00:12:19,325
it's kind of a theme I'm working on.

262
00:12:19,745 --> 00:12:22,125
And so Carole King took that, it's a theme I'm working on,

263
00:12:22,865 --> 00:12:24,125
not for me, for Aretha,

264
00:12:24,125 --> 00:12:25,325
you know, I'm exploring my feminine side.

265
00:12:26,065 --> 00:12:29,725
And, um, so Carole King went home and her

266
00:12:29,845 --> 00:12:31,965
and goin wrote, like, he wrote the lyrics

267
00:12:31,965 --> 00:12:33,525
and she wrote the music supposedly in like

268
00:12:33,865 --> 00:12:35,165
90 minutes or something Amazing.

269
00:12:35,275 --> 00:12:36,765
That same night. And so,

270
00:12:36,765 --> 00:12:40,805
because Jerry Wexler came up with the, the idea for it,

271
00:12:40,805 --> 00:12:42,605
they gave him, they shared publishing

272
00:12:42,605 --> 00:12:44,365
credits apparently without disputes. Well,

273
00:12:44,365 --> 00:12:45,245
Here's this. Like, that's

274
00:12:45,245 --> 00:12:46,405
Why he's listed as one of the composers,

275
00:12:46,645 --> 00:12:47,925
A list of this run that happens

276
00:12:48,965 --> 00:12:50,325
actually leading up to the Aretha.

277
00:12:50,395 --> 00:12:51,845
Yeah. You know, you've got, will You Love

278
00:12:51,845 --> 00:12:53,045
Me Tomorrow by The Shells?

279
00:12:53,045 --> 00:12:55,325
Yeah. Uh, some kind of Wonderful by the Drifters Halfway

280
00:12:55,425 --> 00:12:56,725
to Paradise by Tony Orlando.

281
00:12:56,775 --> 00:12:59,325
Every breath I take by Gene Pitney, point of no return,

282
00:12:59,325 --> 00:13:00,325
Every breath. I not

283
00:13:00,325 --> 00:13:01,365
that way. That was later eighties

284
00:13:01,365 --> 00:13:03,885
Point of no return by Gene McDaniels, take good care

285
00:13:03,885 --> 00:13:06,485
of my baby by Bobby V the locomotion up on the roof.

286
00:13:07,105 --> 00:13:10,285
Go away little girl. Don't say nothing bad about my baby.

287
00:13:10,465 --> 00:13:12,725
One fine Day. Hey Girl by Freddie Scott. Yeah.

288
00:13:12,725 --> 00:13:16,805
the Chiffons,, the cookies, like all these hits

289
00:13:16,835 --> 00:13:18,485
that she had leading up to this.

290
00:13:18,945 --> 00:13:20,285
But you're, as you mentioned,

291
00:13:20,345 --> 00:13:21,525
Her BMI check. Oh my goodness.

292
00:13:21,525 --> 00:13:22,965
Her aspect she's doing,

293
00:13:22,965 --> 00:13:24,565
while they didn't make it in their

294
00:13:24,885 --> 00:13:26,205
marriage, I think they probably

295
00:13:26,205 --> 00:13:27,205
Made it, they made it individually, Financially,

296
00:13:27,205 --> 00:13:28,885
financially doing great.

297
00:13:29,385 --> 00:13:31,045
So they get divorced in 1968,

298
00:13:31,045 --> 00:13:31,925
and Carole King moves out to

299
00:13:31,925 --> 00:13:33,245
California and she makes some new friends.

300
00:13:33,245 --> 00:13:36,125
Peter. She makes friends with people like James Taylor.

301
00:13:36,275 --> 00:13:37,845
Yeah. And Joni Mitchell. Ever heard

302
00:13:37,845 --> 00:13:38,285
Of them? Yeah,

303
00:13:38,285 --> 00:13:39,285
I've, I've heard of them. Singer

304
00:13:39,285 --> 00:13:40,805
songwriter vibes, Some of my favorites. And

305
00:13:40,805 --> 00:13:44,845
This is like, so she's already kind of, you know, bridging

306
00:13:45,425 --> 00:13:46,725
the divide between,

307
00:13:46,865 --> 00:13:49,205
or the, the sort of lineage of this period

308
00:13:49,235 --> 00:13:51,925
that really goes back to what we call Tin Pan Alley

309
00:13:51,985 --> 00:13:53,645
and like early jazz composers.

310
00:13:53,645 --> 00:13:55,325
Duke Ellington, Billy Strayhorn. Yeah, yeah, yeah.

311
00:13:55,345 --> 00:13:56,565
The Gershwins, of course.

312
00:13:56,775 --> 00:13:58,405
Where it's like the song, the writer,

313
00:13:58,545 --> 00:13:59,805
the songwriter is King.

314
00:13:59,835 --> 00:14:01,725
Yeah. And the artist, I mean, not necessarily King,

315
00:14:01,725 --> 00:14:04,085
it's just the artist is not necessarily thinking

316
00:14:04,085 --> 00:14:05,325
about, I'm gonna write some stuff.

317
00:14:05,325 --> 00:14:07,125
Frank Sinatra. It's like, you know,

318
00:14:07,125 --> 00:14:08,645
Johnny Mercer's giving him great,

319
00:14:09,195 --> 00:14:11,045
he's singing the standards, singing the Greatest Song

320
00:14:11,265 --> 00:14:12,405
by the Greatest Artist.

321
00:14:12,545 --> 00:14:16,645
And so Carole King sat right at this sort of cultural shift

322
00:14:16,735 --> 00:14:19,445
where it was like, oh, maybe the artist is the songwriter

323
00:14:19,865 --> 00:14:20,885
and the performer Yeah.

324
00:14:20,945 --> 00:14:22,565
And the instrumentalist. Yeah. The whole thing.

325
00:14:22,565 --> 00:14:24,005
Singer songwriter, obviously Bob

326
00:14:24,005 --> 00:14:25,365
Dylan, Bob Dylan, Beatles, the Beatles. This

327
00:14:25,365 --> 00:14:26,965
Isles started turning this around is like,

328
00:14:26,995 --> 00:14:28,725
it's not just the performer's job

329
00:14:28,745 --> 00:14:29,965
to play other people's songs,

330
00:14:30,065 --> 00:14:32,805
but you have to be able to write and tell your own story.

331
00:14:33,185 --> 00:14:35,325
And then you, you become part of the package. Right?

332
00:14:35,325 --> 00:14:36,645
Yeah. And she wasn't the first and,

333
00:14:36,645 --> 00:14:38,965
and this record wasn't even the, I mean, this is 1971.

334
00:14:38,995 --> 00:14:40,525
Yeah. So we're years after something.

335
00:14:40,625 --> 00:14:44,845
But this may be kind of like the crystallization of that.

336
00:14:44,845 --> 00:14:47,045
Yeah. Like if you were to distill that into one album,

337
00:14:47,045 --> 00:14:48,685
certainly just say Joni Mitchell.

338
00:14:48,885 --> 00:14:50,085
I mean a lot of, you know, Joan,

339
00:14:50,085 --> 00:14:51,525
This has gotta be in the argument

340
00:14:51,525 --> 00:14:54,045
of this is the best singer songwriter album of all time.

341
00:14:54,365 --> 00:14:56,445
I like that. You know what I mean? It's gotta be up there in

342
00:14:56,445 --> 00:14:57,885
the, at least in the, in the discussion.

343
00:14:57,915 --> 00:15:01,205
Yeah. Because the songwriting is so strong. Yeah.

344
00:15:01,405 --> 00:15:02,725
I dunno why I'm getting angry, but if,

345
00:15:03,385 --> 00:15:05,325
But It like, as we'll hear on this album,

346
00:15:05,325 --> 00:15:06,485
like small songwriting

347
00:15:06,925 --> 00:15:07,405
Possibly. Okay.

348
00:15:07,705 --> 00:15:09,805
If you've ever tried to write a song like,

349
00:15:09,875 --> 00:15:12,765
like something like So Far away or it's too late.

350
00:15:12,865 --> 00:15:14,645
Oh. Or, or like, you've got a friend.

351
00:15:15,195 --> 00:15:18,485
It's so hard to write so sincerely and clearly

352
00:15:18,545 --> 00:15:21,125
and tell your story so clearly with lyrics.

353
00:15:21,125 --> 00:15:22,205
That sound good? Yeah.

354
00:15:22,205 --> 00:15:24,765
And amazing chord progressions and modulations

355
00:15:24,785 --> 00:15:27,045
and the way we will talk about all that. But are

356
00:15:27,045 --> 00:15:28,165
You saying that that would be one of the reasons

357
00:15:28,275 --> 00:15:31,525
that this debuted at the top of the Billboard 200

358
00:15:31,905 --> 00:15:33,325
and stayed there for 15 weeks?

359
00:15:33,325 --> 00:15:34,605
Yeah. Which may not sound like a lot

360
00:15:34,605 --> 00:15:36,245
because you think Oh, records have been

361
00:15:36,245 --> 00:15:37,685
on the charts for years.

362
00:15:37,795 --> 00:15:39,885
Yeah. This also was six years on the Billboard

363
00:15:39,885 --> 00:15:41,085
charts, which is second.

364
00:15:41,085 --> 00:15:42,605
It's incredible to this day only to Pink Floyd.

365
00:15:42,605 --> 00:15:43,605
That's amazing. And,

366
00:15:43,665 --> 00:15:47,365
Um, it was by far like, you know, six years at the time.

367
00:15:47,365 --> 00:15:48,645
It was also the biggest record.

368
00:15:48,645 --> 00:15:50,045
Everybody, a female artist all the way up

369
00:15:50,045 --> 00:15:51,485
until I believe the eighties

370
00:15:51,485 --> 00:15:52,925
or early nineties with like Whitney Houston

371
00:15:52,995 --> 00:15:54,565
Bodyguard and all that stuff.

372
00:15:54,635 --> 00:15:55,725
Yeah. No, it was bigger than,

373
00:15:56,005 --> 00:15:57,165
I don't think Madonna had anything.

374
00:15:57,565 --> 00:16:00,245
I don't think. I think it was Whitney Houston bodyguard,

375
00:16:00,425 --> 00:16:01,605
the maybe Shania Twain.

376
00:16:01,605 --> 00:16:03,445
And then stuff got big. What? Mariah Carey.

377
00:16:03,635 --> 00:16:06,085
Some of the, like the sales went bonkers. Sure, sure.

378
00:16:06,625 --> 00:16:08,605
But this also. Yeah. Yeah. But this also,

379
00:16:08,755 --> 00:16:10,885
this record has come back onto the charts.

380
00:16:11,135 --> 00:16:12,525
We're gonna talk a little bit about Yeah.

381
00:16:12,875 --> 00:16:15,805
Gigi, a little TV show that has been on in my house a lot.

382
00:16:16,385 --> 00:16:17,565
We don't even say the name yet. Talk about

383
00:16:17,565 --> 00:16:18,565
Heather Macle. Will,

384
00:16:18,565 --> 00:16:21,925
will Inter Intermarriage sue me if I don't mention

385
00:16:22,025 --> 00:16:23,485
the Gilmore Girls on this. We're

386
00:16:23,605 --> 00:16:24,605
Calling Dubose Yeah. On that

387
00:16:24,605 --> 00:16:25,525
one. Before we though,

388
00:16:25,525 --> 00:16:27,285
before we get to, to tapestry real quick.

389
00:16:27,425 --> 00:16:29,565
Yay. While she's out in California, she makes friends

390
00:16:29,565 --> 00:16:32,285
with another incredible person. This is incredible person.

391
00:16:32,565 --> 00:16:33,605
I call it King Special.

392
00:16:33,745 --> 00:16:34,885
The reason I do it is

393
00:16:34,885 --> 00:16:37,005
because I got the idea of a train. It's

394
00:16:37,125 --> 00:16:39,085
BB King and Carole King is simply

395
00:16:39,085 --> 00:16:40,445
playing piano on this album.

396
00:16:40,755 --> 00:16:43,365
Indianola Mississippi Seeds, 1970.

397
00:16:45,155 --> 00:16:46,485
What she's playing is already correct.

398
00:16:46,665 --> 00:16:48,685
And she's playing all kinds of piano. Yes.

399
00:16:50,915 --> 00:16:51,405
Come on

400
00:16:59,475 --> 00:17:01,205
With the BB King pod coming Dean.

401
00:17:01,515 --> 00:17:03,205
Yeah. When's the BB King pod? This

402
00:17:03,205 --> 00:17:04,205
This, his second appearance. Remember

403
00:17:04,205 --> 00:17:05,445
that was a little on the DeAngelo

404
00:17:11,645 --> 00:17:13,925
DeAngelo and Pino met at a bb

405
00:17:18,065 --> 00:17:19,845
and what you're here to do is very

406
00:17:19,845 --> 00:17:21,405
simple, but it is not easy.

407
00:17:21,785 --> 00:17:26,525
No. She's in the pocket. Yeah.

408
00:17:26,565 --> 00:17:29,005
I mean, she was a deeply bluesy player.

409
00:17:29,135 --> 00:17:30,525
We're gonna hear that on Tapestry.

410
00:17:31,105 --> 00:17:33,685
Um, and just an authentic musician. Jesus. I want to

411
00:17:33,695 --> 00:17:35,245
Shout out my dad, Lester Manni

412
00:17:35,245 --> 00:17:36,485
for playing a ton of BB King.

413
00:17:36,525 --> 00:17:38,645
A ton of Albert King. Ton of John Lee H****r. Yeah.

414
00:17:38,705 --> 00:17:40,405
Around the house when I was a kid. Yeah.

415
00:17:40,665 --> 00:17:44,125
Um, alright, so that'll take us, that's 1970.

416
00:17:44,265 --> 00:17:46,165
She makes an album called Writer. Yeah.

417
00:17:46,225 --> 00:17:47,485
Um, which doesn't connect.

418
00:17:47,785 --> 00:17:50,605
Uh, it's, it's her first like singer songwriter album

419
00:17:50,915 --> 00:17:52,605
post Jerry Goin.

420
00:17:52,605 --> 00:17:55,005
Yeah. Um, it's, it's a good album.

421
00:17:55,185 --> 00:17:58,325
It doesn't, it doesn't, uh, connect catch fire with people.

422
00:17:58,325 --> 00:18:00,565
It doesn't catch fire. Like what happens next?

423
00:18:00,865 --> 00:18:03,965
And what happens next is her sophomore album

424
00:18:03,975 --> 00:18:07,605
after post Jerry goin and it's called Tapestry.

425
00:18:07,985 --> 00:18:09,685
And it starts like this.

426
00:18:17,685 --> 00:18:21,645
I feel the earth, I

427
00:18:25,715 --> 00:18:29,565
feel my heart start tremble whenever,

428
00:18:35,715 --> 00:18:38,925
when I see your meow.

429
00:18:39,185 --> 00:18:39,405
The

430
00:18:43,885 --> 00:18:44,565
I can't stand.

431
00:18:51,125 --> 00:18:52,845
I wanna start to an album, man. You

432
00:18:52,845 --> 00:18:53,845
Know what I mean? Man, she's just introduced

433
00:18:53,845 --> 00:18:55,845
a lot of the themes of the album,

434
00:18:55,845 --> 00:18:58,805
musical, the lyrics, you know, the romance.

435
00:18:59,175 --> 00:19:01,245
Maybe a little bit of broken off from, I mean, like,

436
00:19:01,455 --> 00:19:03,085
she's already put it all out there.

437
00:19:03,105 --> 00:19:04,125
The groove, you know,

438
00:19:05,995 --> 00:19:07,325
Love those harmonies There.

439
00:19:07,505 --> 00:19:12,325
And also, yeah. This is very like bluesy

440
00:19:12,325 --> 00:19:13,845
almost Muscle Shoals vibe.

441
00:19:13,885 --> 00:19:14,805
A lot, a lot of this album too

442
00:19:14,805 --> 00:19:16,485
is we're gonna jam for a little bit. Yeah. There's

443
00:19:16,485 --> 00:19:17,485
Solos Jam. Here's Soul come

444
00:19:17,485 --> 00:19:19,925
up on a second after second verse.

445
00:19:20,545 --> 00:19:24,765
But also when it goes to the, to the major part,

446
00:19:26,525 --> 00:19:27,845
I won't say what kind of chord it is.

447
00:19:28,555 --> 00:19:31,005
Yeah. Chasing

448
00:19:33,815 --> 00:19:34,815
Cooch. Cooch is,

449
00:19:34,815 --> 00:19:34,965

450
00:19:40,275 --> 00:19:41,485
This Is like, kind

451
00:19:41,485 --> 00:19:45,365
Of, But here, this is kind of seventies,

452
00:19:46,675 --> 00:19:49,325
dare I say soft rock, like the harmony of

453
00:19:49,325 --> 00:19:50,445
what we're gonna hear of the seventies,

454
00:19:50,585 --> 00:19:51,845
The wrong with Soft Rocks in the

455
00:19:52,045 --> 00:19:53,485
Seventies, but the quality stuff.

456
00:19:53,485 --> 00:19:54,485
Right.

457
00:19:55,145 --> 00:19:56,245
And She's got that all in one song.

458
00:20:00,155 --> 00:20:03,325
Yeah. And this song is gonna, uh, set, I think most

459
00:20:03,325 --> 00:20:05,205
of these have this core rhythm section

460
00:20:05,205 --> 00:20:06,525
with a few exceptions Yeah.

461
00:20:07,065 --> 00:20:08,085
Of Danny Koch

462
00:20:08,395 --> 00:20:08,965
Kmar. Yeah.

463
00:20:09,785 --> 00:20:11,525
Uh, on guitar. Who, by the way,

464
00:20:11,555 --> 00:20:13,205
Koch on this crushes this song. Yeah.

465
00:20:13,205 --> 00:20:15,205
The whole time. He Is crushing the whole time. There's

466
00:20:15,205 --> 00:20:16,205
A bunch of James Taylor. You'll hear

467
00:20:16,205 --> 00:20:17,165
the difference. James Taylor

468
00:20:17,165 --> 00:20:18,165
Playing a lot with the acoustic Playing.

469
00:20:18,165 --> 00:20:19,125
Yeah.

470
00:20:19,125 --> 00:20:21,645
Joel O'Brien on the drums also crushes in a very

471
00:20:21,645 --> 00:20:22,845
like, restrained

472
00:20:22,995 --> 00:20:23,995
Yeah. Man. His fill

473
00:20:23,995 --> 00:20:24,845
coming in pocket

474
00:20:24,905 --> 00:20:25,905
Way. And

475
00:20:25,905 --> 00:20:28,125
then, uh, Charles Larkey on the bass

476
00:20:28,125 --> 00:20:29,525
Yep. Is playing on most of these.

477
00:20:30,435 --> 00:20:33,645
Yeah. And these were like the Tops session LA guys. Yeah.

478
00:20:33,905 --> 00:20:35,885
And you could say there's a bunch of 'em. Yeah.

479
00:20:36,105 --> 00:20:38,685
But the ace, the A Squad there was like a small group. Oh.

480
00:20:45,865 --> 00:20:49,925
And that, this track too is like,

481
00:20:50,075 --> 00:20:52,125
it's introducing the record in a lot of ways.

482
00:20:52,305 --> 00:20:53,445
And, and maybe, you know, we,

483
00:20:53,445 --> 00:20:54,805
we can talk a little bit right now

484
00:20:55,035 --> 00:20:58,245
because the, the lens with which we look at this record,

485
00:20:58,325 --> 00:20:59,965
I think there's so many different levels to this record.

486
00:21:00,275 --> 00:21:02,045
Like, I think of it as a small record,

487
00:21:02,445 --> 00:21:04,365
although this is not a small track. This is like, it's

488
00:21:04,365 --> 00:21:05,365
A humble album. It's

489
00:21:05,365 --> 00:21:07,125
a humble album. I mean, look at the cover.

490
00:21:07,125 --> 00:21:08,205
Yeah. It's a cozy

491
00:21:08,205 --> 00:21:09,205
Record. It's not huge.

492
00:21:09,205 --> 00:21:10,245
It's not epic.

493
00:21:10,345 --> 00:21:12,365
It doesn't have these big strings or

494
00:21:12,365 --> 00:21:13,685
Horrors, but it has Little parts or

495
00:21:13,685 --> 00:21:14,925
synthesizers or anything like that.

496
00:21:14,925 --> 00:21:16,005
There's some epicness in

497
00:21:16,785 --> 00:21:18,725
and I mean, there's like some little parts that come

498
00:21:18,725 --> 00:21:20,725
and like, this is grooving in a way for a first track

499
00:21:21,105 --> 00:21:22,885
and coming at you that it's like, damn,

500
00:21:22,885 --> 00:21:24,325
where are we gonna go from here?

501
00:21:24,435 --> 00:21:27,205
Yeah. I also, the lyrics on this opener are great.

502
00:21:27,205 --> 00:21:29,765
So it's a, it's a song about being love struck. Yeah. Right.

503
00:21:29,775 --> 00:21:32,005
About about, uh, knocked off your feet.

504
00:21:32,005 --> 00:21:33,365
Knocked your feet knocked off. Your having a

505
00:21:33,365 --> 00:21:34,565
massive crush on someone.

506
00:21:35,425 --> 00:21:38,485
And the imagery of I feel the Earth move under my feet.

507
00:21:38,545 --> 00:21:42,005
Oh, I feel the sky come crumbling down. Probably go again.

508
00:21:42,055 --> 00:21:44,525
Incredible, incredible imagery. Uh, yeah.

509
00:21:44,545 --> 00:21:46,045
To start off the album and

510
00:21:46,045 --> 00:21:49,045
Shout out to the LP too, that has every lyric on here.

511
00:21:49,045 --> 00:21:50,725
Yeah. Which is amazing. I remember this used

512
00:21:50,725 --> 00:21:52,085
to be normal when I was growing up.

513
00:21:52,085 --> 00:21:53,405
It's like, oh yeah, of course you're gonna go Look.

514
00:21:53,525 --> 00:21:54,485
I have a feeling because you're listening.

515
00:21:54,565 --> 00:21:55,685
I mean, her dictions so good.

516
00:21:55,685 --> 00:21:57,325
You can hear it. Yeah, yeah, yeah. What she's saying. But I

517
00:21:57,325 --> 00:21:59,285
Have a feeling the the ACC Mons are gonna score

518
00:21:59,285 --> 00:22:00,325
high in the categories.

519
00:22:00,385 --> 00:22:02,725
Oh, You think so? Stay around for that. So, uh, second.

520
00:22:02,845 --> 00:22:04,685
I feel the sky tumbling. Now I feel my hearts.

521
00:22:04,705 --> 00:22:06,485
But I mean, think about starting the record out with this.

522
00:22:08,075 --> 00:22:10,765
Like, everything is very like, you know, straight up Yeah.

523
00:22:11,085 --> 00:22:13,645
Grooving. And then the lyrics are very, Ooh, baby

524
00:22:14,035 --> 00:22:15,445
Next is one of my favorite nice CEO

525
00:22:15,445 --> 00:22:16,925
e on the album. Do you wanna hear me

526
00:22:17,005 --> 00:22:17,645
Sing whole album? No, I'm sorry.

527
00:22:17,645 --> 00:22:20,525
I Go ahead. Go ahead. Keep going. No. Good. Uh,

528
00:22:20,785 --> 00:22:21,785
No. Next is one

529
00:22:21,785 --> 00:22:22,885
of my favorite songs in the whole album.

530
00:22:22,915 --> 00:22:24,085
This is so far away.

531
00:22:29,255 --> 00:22:30,205
James Taylor, it's

532
00:22:30,305 --> 00:22:31,305
Jt. The think coming

533
00:22:31,305 --> 00:22:32,285
out of that last track,

534
00:22:32,285 --> 00:22:33,405
it's like, where are we going now?

535
00:22:34,055 --> 00:22:36,005
We're driving up in Laurel Canyon. Yeah.

536
00:22:36,025 --> 00:22:37,165
Up to the ridge, basically. Yeah.

537
00:22:37,165 --> 00:22:38,005
Green Point so far.

538
00:22:44,745 --> 00:22:44,965
Oh,

539
00:22:45,035 --> 00:22:48,165
Charles Larkey coming in Hot Larkey crushing

540
00:22:48,165 --> 00:22:49,165
This one.

541
00:22:49,475 --> 00:22:51,405
Lars, time to Shine. So Good.

542
00:22:54,275 --> 00:22:57,405
Doesn't help you.

543
00:22:57,555 --> 00:23:02,205
Just long ago

544
00:23:02,725 --> 00:23:03,925
I reached for you.

545
00:23:04,265 --> 00:23:04,485
And

546
00:23:05,015 --> 00:23:09,685
there you again.

547
00:23:13,505 --> 00:23:14,445
Be gee's backgrounds.

548
00:23:23,115 --> 00:23:24,125
This Is a lot of space.

549
00:23:26,615 --> 00:23:27,165
Check that out.

550
00:23:32,145 --> 00:23:34,915
It's like kicking just a little bit of high, right? Yeah.

551
00:23:36,695 --> 00:23:37,875
That's the drum part. Yeah.

552
00:23:38,665 --> 00:23:40,275
It's almost like an early program drum.

553
00:23:42,775 --> 00:23:43,955
It Is. It's like a little

554
00:23:44,305 --> 00:23:45,885
Drum and then like, her piano

555
00:23:46,345 --> 00:23:49,245
and jts guitar a little bit is given the motion

556
00:23:49,355 --> 00:23:50,405
instead of the drums.

557
00:23:50,405 --> 00:23:53,405
You know, like she's like, they pation

558
00:23:56,225 --> 00:23:57,685
Of The one to the guitar.

559
00:23:58,555 --> 00:24:02,265
Yeah. And then Larkey, that's like some oblig

560
00:24:10,155 --> 00:24:11,155
Dynamics.

561
00:24:14,695 --> 00:24:15,915
Man. If you're away from, Sounds like

562
00:24:15,915 --> 00:24:16,955
some Kka or something.

563
00:24:17,065 --> 00:24:18,065
It's percussion in there.

564
00:24:20,105 --> 00:24:20,395
Yeah.

565
00:24:24,835 --> 00:24:25,255
Travel

566
00:24:30,085 --> 00:24:31,085
Back to the drums.

567
00:24:31,325 --> 00:24:33,815
Nothing else to do, but

568
00:24:44,955 --> 00:24:48,375
so many dreams yet.

569
00:24:53,555 --> 00:24:54,655
But you are so

570
00:24:54,955 --> 00:24:55,955
Far. Perfect. Little drum fill.

571
00:24:55,955 --> 00:24:57,375
Small fill. Everything's small.

572
00:24:57,845 --> 00:24:58,335
Doesn't

573
00:25:04,225 --> 00:25:04,845
it would be,

574
00:25:11,125 --> 00:25:13,565
I do not recommend listening to this album

575
00:25:14,235 --> 00:25:16,405
when you're like, on another continent from your

576
00:25:16,405 --> 00:25:17,405
Loved one. Don't, that's

577
00:25:17,405 --> 00:25:18,525
a tear jerker. Don't do that. I've

578
00:25:18,605 --> 00:25:19,605
Done it. I've done it.

579
00:25:19,605 --> 00:25:20,845
Maybe, um,

580
00:25:21,635 --> 00:25:22,635
Hold on real quick. I just

581
00:25:22,635 --> 00:25:24,125
wanna say, I think this is her best

582
00:25:24,175 --> 00:25:25,405
vocal performance on the whole line.

583
00:25:25,685 --> 00:25:28,005
I agree. I think she's just crushes it vocally. Yeah.

584
00:25:28,265 --> 00:25:29,845
And I think the line,

585
00:25:30,265 --> 00:25:33,485
the question doesn't anybody stay in one place anymore?

586
00:25:33,655 --> 00:25:34,605
We've heard it so many times

587
00:25:34,885 --> 00:25:35,925
'cause we've grown up with this album.

588
00:25:35,955 --> 00:25:39,405
Yeah. We take for granted how genius that is to say,

589
00:25:39,505 --> 00:25:41,965
to st Start the song with the statement

590
00:25:41,965 --> 00:25:43,245
of the hook so far away.

591
00:25:43,245 --> 00:25:45,445
Yeah. Doesn't anybody stay in one place anymore?

592
00:25:46,185 --> 00:25:49,045
Is such a heart wrenching sentence. Yeah.

593
00:25:49,065 --> 00:25:50,845
You get the whole idea of the story. Yeah.

594
00:25:50,905 --> 00:25:53,725
And the backstory from just the, the, it's so human.

595
00:25:53,905 --> 00:25:55,085
That's so incredible.

596
00:25:55,505 --> 00:25:58,365
And like, I I I'm just blown away by

597
00:25:58,465 --> 00:26:00,605
how sophisticated lyrically she is

598
00:26:00,665 --> 00:26:03,125
and how how sophisticated harmonically she is.

599
00:26:03,125 --> 00:26:04,765
Yeah. And then the singing on this track

600
00:26:04,865 --> 00:26:05,885
is just otherworldly.

601
00:26:05,925 --> 00:26:09,005
I mean, I'm just blown away by, uh, by this whole album,

602
00:26:09,025 --> 00:26:10,725
the whole experience and, and you know,

603
00:26:10,725 --> 00:26:12,045
the production on this we were talking about.

604
00:26:12,115 --> 00:26:14,245
Yeah. It sounds like it's a band playing in a room together.

605
00:26:14,245 --> 00:26:16,685
Right? I don't know. They did this in two weeks, apparently.

606
00:26:16,715 --> 00:26:19,325
Yeah. And like, I think they played all this stuff live.

607
00:26:19,625 --> 00:26:21,485
You know, I'm, I I think we have something here

608
00:26:21,485 --> 00:26:22,485
From Well, aler. Yeah. Aler.

609
00:26:22,485 --> 00:26:23,165
Yeah. We have that.

610
00:26:23,425 --> 00:26:24,725
He kind of breaks down his concept.

611
00:26:24,825 --> 00:26:26,445
Him and Carol's concept producer. So Lou was

612
00:26:26,685 --> 00:26:27,685
Producer. Yeah. The

613
00:26:27,685 --> 00:26:30,965
first thing that I envisioned with Carol was

614
00:26:31,685 --> 00:26:33,365
a solo artist that

615
00:26:34,265 --> 00:26:36,565
you always felt she was sitting at the

616
00:26:36,565 --> 00:26:37,805
piano and singing to you.

617
00:26:37,955 --> 00:26:39,045
Yeah. Yeah. I mean, you get

618
00:26:39,045 --> 00:26:40,365
that feeling when you listen to this.

619
00:26:40,425 --> 00:26:42,525
You just get the feeling like there's nothing again,

620
00:26:42,525 --> 00:26:44,485
there's no like, like flashy huge

621
00:26:44,485 --> 00:26:45,685
string arrangements on this.

622
00:26:45,765 --> 00:26:46,765
I mean, there's a couple of moments

623
00:26:46,765 --> 00:26:48,725
where they do some different stuff, but small

624
00:26:48,725 --> 00:26:49,725
Strings too. Small strings.

625
00:26:49,725 --> 00:26:50,245
Small strings too.

626
00:26:50,465 --> 00:26:51,925
But it just feels like they're just playing.

627
00:26:51,925 --> 00:26:53,245
And there's like, like we said, there's a lot

628
00:26:53,245 --> 00:26:55,205
of instrumental sections where there's solos

629
00:26:55,205 --> 00:26:56,205
and there's written out stuff.

630
00:26:56,205 --> 00:26:57,645
Obviously worked out stuff obviously.

631
00:26:57,985 --> 00:26:59,485
Um, this is the engineer, uh,

632
00:26:59,485 --> 00:27:01,245
Hank c Chalo talking about we were

633
00:27:01,365 --> 00:27:03,925
Making a good record and that's all we knew that.

634
00:27:04,185 --> 00:27:07,645
And it was a simple record records like Tapestry could be

635
00:27:07,645 --> 00:27:08,765
overproduced in a minute.

636
00:27:09,025 --> 00:27:11,445
Mm. You know, so, oh, let's add more guitars,

637
00:27:11,655 --> 00:27:14,085
let's add more this more that Lou

638
00:27:14,085 --> 00:27:15,645
and Carol wanted that simplicity.

639
00:27:16,115 --> 00:27:18,125
They wanted to be just nice and warm

640
00:27:18,625 --> 00:27:22,485
and a very comfortable record for people to enjoy.

641
00:27:22,715 --> 00:27:25,485
Comfortable warm. Yeah. Simp simple. I mean, you should

642
00:27:25,485 --> 00:27:26,485
Accomplish Yeah. You look at

643
00:27:26,485 --> 00:27:27,765
this cover and it looks

644
00:27:27,765 --> 00:27:29,325
comfortable, warm, simple.

645
00:27:29,325 --> 00:27:31,245
Yeah. There's a cat. Cat's a little scary.

646
00:27:31,865 --> 00:27:33,245
The budget for this album, cat looks big.

647
00:27:33,465 --> 00:27:35,405
The budget for this. Oh. So it was made in three weeks,

648
00:27:35,405 --> 00:27:36,485
excuse me, not two, three weeks.

649
00:27:36,505 --> 00:27:39,325
The budget was two $22,000. That's right.

650
00:27:39,325 --> 00:27:41,605
Which even in 1971 is pretty small considering.

651
00:27:41,605 --> 00:27:43,885
Oh, it's teeny. We listened to, uh, uh, rumors.

652
00:27:43,885 --> 00:27:45,365
Rumors, yeah. What was that? $2 million?

653
00:27:45,465 --> 00:27:46,885
It was a lot. It was like the equivalent

654
00:27:46,885 --> 00:27:48,165
of 20 million or something today.

655
00:27:48,165 --> 00:27:49,685
Yeah. It was insane. This was, this was teeny.

656
00:27:49,865 --> 00:27:52,525
And I mean, oh, and by the way, Lou Adler fun fact.

657
00:27:52,545 --> 00:27:54,725
You, you probably, even if you think you haven't seen him,

658
00:27:54,725 --> 00:27:56,525
he's like the biggest Lakers fan ever.

659
00:27:57,025 --> 00:27:58,965
He always dresses, he's always sitting next to Jay.

660
00:27:59,105 --> 00:28:01,325
Uh, Jack Nicholson, also Rocky Horror.

661
00:28:01,545 --> 00:28:03,685
He made the Rocky Horror Picture Show. That was big.

662
00:28:03,685 --> 00:28:04,965
This is small. That was big. Yeah.

663
00:28:04,965 --> 00:28:06,245
Carole King's longtime manager.

664
00:28:06,565 --> 00:28:07,845
A a big force with this record.

665
00:28:07,985 --> 00:28:10,005
But, um, yeah, I mean,

666
00:28:10,425 --> 00:28:12,605
and this whole thing of like, her at the piano being a piano

667
00:28:12,605 --> 00:28:14,805
driven, I don't think she's ever not at the piano.

668
00:28:14,965 --> 00:28:16,165
I think you're right on this whole thing.

669
00:28:16,425 --> 00:28:20,845
And it's so like, closely related to Well, so even like,

670
00:28:20,885 --> 00:28:22,085
I really like her piano playing too, by

671
00:28:22,085 --> 00:28:23,085
The way. Her piano playing is so

672
00:28:23,085 --> 00:28:24,285
great and so appropriate. It's

673
00:28:24,285 --> 00:28:26,365
Like the epitome of a songwriter's piano playing.

674
00:28:26,685 --> 00:28:27,765
Absolutely. You know what I mean? Yeah.

675
00:28:27,825 --> 00:28:29,245
And I think that this record, especially

676
00:28:29,245 --> 00:28:30,525
that track we just heard, and I agree.

677
00:28:30,525 --> 00:28:33,325
Like her vocals are, she's a lot of beautiful vocals.

678
00:28:33,325 --> 00:28:34,805
But this one, there's something about

679
00:28:34,805 --> 00:28:35,925
it that's just perfection.

680
00:28:35,925 --> 00:28:38,245
Mm-hmm. Um, just vocally the way she's singing.

681
00:28:38,665 --> 00:28:42,045
Um, but there's levels that you can appreciate this record.

682
00:28:42,245 --> 00:28:46,045
I think the lyrics and the melodies are at such a high level

683
00:28:46,065 --> 00:28:47,285
and they're so highest

684
00:28:47,515 --> 00:28:49,005
Universally Human.

685
00:28:49,195 --> 00:28:51,965
Yeah. That somebody, if you under, if you know English,

686
00:28:52,305 --> 00:28:53,365
you know, that would be a a

687
00:28:53,555 --> 00:28:54,725
that would only be the only

688
00:28:54,885 --> 00:28:55,925
barriers if you didn't understand English.

689
00:28:55,925 --> 00:28:57,485
It's, but even a translation of this.

690
00:28:57,785 --> 00:29:00,205
But like her, the, the craft of that is amazing.

691
00:29:00,705 --> 00:29:03,965
But the next level, which we appreciate as we listen to it,

692
00:29:04,385 --> 00:29:06,765
but most people don't think about it as much as the lyrics.

693
00:29:06,765 --> 00:29:08,645
Like the lyrics are there for you to like,

694
00:29:08,655 --> 00:29:09,925
apply just so far away.

695
00:29:09,925 --> 00:29:11,485
Oh, I'm thinking of mine. And like,

696
00:29:11,645 --> 00:29:13,165
is she talking about she's far away from New York?

697
00:29:13,325 --> 00:29:14,725
'cause she's on the West Coast. Like there's all these

698
00:29:14,745 --> 00:29:16,085
things that we can think about.

699
00:29:16,085 --> 00:29:17,565
You know, why don't we stay in Wayne Place? Yes.

700
00:29:17,565 --> 00:29:18,845
Why is my family spread apart?

701
00:29:18,845 --> 00:29:21,285
My loved was a lost lover, whatever that is.

702
00:29:21,325 --> 00:29:23,485
I mean, even of the time though, Peter, like this song,

703
00:29:23,505 --> 00:29:25,525
you know, she moved to California in 1968.

704
00:29:25,595 --> 00:29:27,805
Yeah. When a lot of people moved to California. Yes.

705
00:29:27,805 --> 00:29:30,845
That's the summer of love. No, that's right. Was that 67?

706
00:29:31,075 --> 00:29:32,725
That was six seven. And they were still in New York.

707
00:29:32,755 --> 00:29:34,085
They still in Woodstock. Exactly.

708
00:29:34,145 --> 00:29:37,205
No, no, no. But, uh, 1968, a lot of people are. Yeah.

709
00:29:37,205 --> 00:29:38,565
The big migration happened. Big

710
00:29:38,565 --> 00:29:39,565
Migrations. People are gonna San

711
00:29:39,565 --> 00:29:40,325
Francisco, people are going

712
00:29:40,325 --> 00:29:41,240
to la people are gonna are gonna

713
00:29:41,240 --> 00:29:42,640
California people are going to New York.

714
00:29:42,640 --> 00:29:43,725
People are, are are the,

715
00:29:43,725 --> 00:29:45,765
this whole cultural revolution is happening.

716
00:29:45,765 --> 00:29:47,765
Yeah. And this song is just like, you know,

717
00:29:47,765 --> 00:29:49,725
doesn't anybody stay in one place anymore?

718
00:29:49,745 --> 00:29:50,845
It would be so fine. It so applic.

719
00:29:50,845 --> 00:29:52,205
It's see your face at my door. Yeah.

720
00:29:52,205 --> 00:29:53,685
You know what I mean? And it's such a universal thing.

721
00:29:53,685 --> 00:29:55,125
It's still, it, it, it moves people.

722
00:29:55,425 --> 00:29:57,725
But then the next layer of the craftsmanship

723
00:29:58,345 --> 00:30:00,685
of her composition, the harmony, we're not gonna get,

724
00:30:00,725 --> 00:30:02,605
I know I'm not allowed to talk about that too much,

725
00:30:02,825 --> 00:30:07,325
but I'm saying like, the levels 1, 4, 5, um, the levels of,

726
00:30:08,425 --> 00:30:11,405
Are you talking to me Just a little bit inside Joke?

727
00:30:11,405 --> 00:30:12,565
Those are fun on podcasts.

728
00:30:12,785 --> 00:30:16,405
But the levels of her mastery of the songwriting craft

729
00:30:16,715 --> 00:30:17,845
that is more the nuts

730
00:30:18,085 --> 00:30:19,965
and bolts, the more behind the scenes stuff.

731
00:30:20,115 --> 00:30:22,885
Like, once you delve into that, it's like just so genius.

732
00:30:22,955 --> 00:30:25,165
Yeah. Like her, her use of rhythm. Yeah.

733
00:30:25,165 --> 00:30:28,085
You know, bump and how it connects with the lyrics

734
00:30:28,085 --> 00:30:29,885
and stuff is very simple,

735
00:30:30,545 --> 00:30:33,565
but very highly crafted and curated, you know?

736
00:30:33,565 --> 00:30:34,765
Mm-hmm. So yeah. I'm

737
00:30:34,765 --> 00:30:35,765
A fan. So, so far we've

738
00:30:35,765 --> 00:30:37,605
had, you know, I feel The Earth move,

739
00:30:37,655 --> 00:30:41,045
which is like a love struck, infatuation kind of song.

740
00:30:41,045 --> 00:30:42,325
Yeah. We've had so far away,

741
00:30:42,325 --> 00:30:44,605
which is I'm missing your face kind of song.

742
00:30:44,945 --> 00:30:48,325
And then we get a good old fashioned breakup song.

743
00:30:48,475 --> 00:30:51,045
Perhaps the greatest breakup song.

744
00:30:51,155 --> 00:30:52,765
It's, it's in the conversation. It's it's

745
00:30:52,765 --> 00:30:53,125
Gotta be. Yeah.

746
00:30:53,305 --> 00:30:54,885
And, you know, I like to daydream

747
00:30:54,885 --> 00:30:57,125
that this is about her breakup with Jerry Goffin.

748
00:30:57,425 --> 00:30:59,405
Now that I know more about that backstory. But yeah.

749
00:30:59,845 --> 00:31:01,205
I don't know. Anyway, this is

750
00:31:01,935 --> 00:31:02,935
Jesus. This is the number one hit

751
00:31:02,935 --> 00:31:03,285
too.

752
00:31:03,285 --> 00:31:04,285
This is brilliant. Is So, you're

753
00:31:04,285 --> 00:31:04,925
not the only one who likes this,

754
00:31:05,145 --> 00:31:06,145
My friend. Well, it's an incredible song.

755
00:31:06,145 --> 00:31:06,845
It's too late.

756
00:31:12,105 --> 00:31:14,085
That's what I'm talking about. The craft of songwriting.

757
00:31:14,085 --> 00:31:18,565
That's part of it. And then the melody starts,

758
00:31:21,915 --> 00:31:26,765
There's something wrong here that one

759
00:31:26,765 --> 00:31:27,765
of us is changing.

760
00:31:28,385 --> 00:31:29,925
Or maybe we just

761
00:31:36,075 --> 00:31:37,845
Late Ah, let's groove a little.

762
00:31:38,475 --> 00:31:40,925
It's late. Let's groove on the bell of the symbol

763
00:31:42,215 --> 00:31:43,215
Grips.

764
00:31:44,365 --> 00:31:45,765
I love the little roads line. Yeah,

765
00:31:47,995 --> 00:31:48,285
Yeah.

766
00:31:58,265 --> 00:31:58,485
Do

767
00:31:59,225 --> 00:32:00,565
Now the intro becomes a segue

768
00:32:00,595 --> 00:32:02,885
between verse chorus and verse second verse.

769
00:32:03,865 --> 00:32:07,805
It used to be so easy. You Ah,

770
00:32:12,065 --> 00:32:13,065
Oh, Those backgrounds.

771
00:32:14,185 --> 00:32:15,685
Un light and breezy too that Yeah.

772
00:32:22,785 --> 00:32:24,485
And it goes with a chorus quick. Both times.

773
00:32:24,565 --> 00:32:26,125
I, I love a quick chorus, assuming

774
00:32:29,065 --> 00:32:33,485
Try something inside.

775
00:32:41,875 --> 00:32:42,685
It's a great interview.

776
00:32:52,585 --> 00:32:56,695
And then this blues line coming down. Oh, here.

777
00:32:56,695 --> 00:33:00,815
It's right here. Yeah. Yeah. Little George Benson.

778
00:33:00,815 --> 00:33:02,015
Is it Barry Benson.

779
00:33:04,845 --> 00:33:07,295
Then we get a little folky folky jazzy jam.

780
00:33:07,415 --> 00:33:09,575
I like to call this och.

781
00:33:14,365 --> 00:33:16,215
This is weird though. This next solo.

782
00:33:16,955 --> 00:33:20,375
Oh, the piano. The, uh, oh yeah, piano.

783
00:33:21,875 --> 00:33:23,615
So it's Carole King On the road. So

784
00:33:23,615 --> 00:33:26,615
The roads and then Curtis Amy on the saxophone. They

785
00:33:26,615 --> 00:33:27,615
Kind of layered it on.

786
00:33:32,075 --> 00:33:33,075
It works though.

787
00:33:35,205 --> 00:33:39,775
Yeah, it does. Man, this is such a great Oh yeah.

788
00:33:39,775 --> 00:33:42,735
This one for a Grammy record of the year 1972.

789
00:33:42,845 --> 00:33:45,415
Yeah. 'cause it's Not, it's not a hidden track. No.

790
00:33:45,755 --> 00:33:47,615
Be good times Third verse.

791
00:33:49,515 --> 00:33:50,975
But we just can't stay together.

792
00:33:57,565 --> 00:33:59,655
Yeah. Man. She's so great.

793
00:33:59,655 --> 00:34:01,415
When the lyrics change by verse of like,

794
00:34:01,655 --> 00:34:03,175
altering the melody to fit them.

795
00:34:04,985 --> 00:34:06,535
Quick chorus. I love a quick chorus.

796
00:34:10,235 --> 00:34:11,295
Simple baseline.

797
00:34:17,395 --> 00:34:19,535
Big James Jamerson influence on these bass players

798
00:34:19,595 --> 00:34:20,655
by the early seventies.

799
00:34:21,085 --> 00:34:22,085
Finally.

800
00:34:25,275 --> 00:34:26,275
What'd You say?

801
00:34:26,645 --> 00:34:27,645
Finally, Back to that.

802
00:34:28,255 --> 00:34:29,095
I thought you said five chord.

803
00:34:38,155 --> 00:34:42,735
Yes. Into the major though.

804
00:34:43,005 --> 00:34:44,495
Into the major man. That's what I'm saying.

805
00:34:44,495 --> 00:34:48,175
Like little details with her songwriting. It's so cool, man.

806
00:34:48,355 --> 00:34:48,815
So man,

807
00:34:54,095 --> 00:34:55,775
A couple of technical things that I want to hit upon.

808
00:34:55,775 --> 00:34:57,735
Yeah. Uh, the first is like some

809
00:34:57,975 --> 00:34:59,055
lyric things that happen here.

810
00:34:59,205 --> 00:35:02,175
That second verse is like another great example of something

811
00:35:02,175 --> 00:35:03,175
that seems very simple.

812
00:35:03,365 --> 00:35:05,575
Yeah. But is, you know, if you try

813
00:35:05,575 --> 00:35:08,335
to write a song like this, any songwriters know, it's not

814
00:35:08,335 --> 00:35:09,975
that simple to write.

815
00:35:10,155 --> 00:35:13,815
Um, something with like, it used to be so easy living here

816
00:35:13,815 --> 00:35:15,655
with you, you were light and breezy

817
00:35:15,655 --> 00:35:16,895
and I knew just what to do.

818
00:35:17,275 --> 00:35:18,495
Now. You look so unhappy.

819
00:35:18,555 --> 00:35:20,935
And I feel like a fool is incredible.

820
00:35:20,945 --> 00:35:22,615
Again, it tells a whole story. Yeah.

821
00:35:22,835 --> 00:35:24,295
And also a very familiar story.

822
00:35:24,295 --> 00:35:25,735
Anybody who's gone through a breakup

823
00:35:25,755 --> 00:35:27,455
or has like gone through a long relationship

824
00:35:27,515 --> 00:35:30,335
and you have the, a romantic pheromones going phase

825
00:35:30,335 --> 00:35:31,775
where everything's easy and light.

826
00:35:31,845 --> 00:35:34,175
Yeah. And you know, every saying the right things.

827
00:35:34,275 --> 00:35:36,735
That's right. And then something dies. Yeah.

828
00:35:37,025 --> 00:35:39,285
And so, you know what I, I mean like inside me. Well, yeah.

829
00:35:39,285 --> 00:35:40,565
It's, it's incredible. Yeah.

830
00:35:40,565 --> 00:35:43,125
And then there's a musical thing on this one that I think is

831
00:35:43,385 --> 00:35:45,565
so fascinating, which she does a

832
00:35:45,565 --> 00:35:46,605
couple of times in this album.

833
00:35:46,665 --> 00:35:50,045
She does it again on, on, uh, where you lead, which is,

834
00:35:50,105 --> 00:35:52,885
so it starts out in the key of C It's like that A minor

835
00:35:53,185 --> 00:35:55,685
to D seven, which is you could, I mean,

836
00:35:55,685 --> 00:35:57,365
you could make arguments that it's not the key

837
00:35:57,365 --> 00:35:58,405
of C it's the key of C.

838
00:35:58,905 --> 00:36:01,445
And she at think, I think it's,

839
00:36:01,445 --> 00:36:02,805
Well yeah, I was just say, I think it's just

840
00:36:02,925 --> 00:36:03,885
'cause it starts and so

841
00:36:07,905 --> 00:36:09,565
the melody, I feel like it's an A minor.

842
00:36:10,525 --> 00:36:11,725
C is a because that's, Well, no,

843
00:36:11,725 --> 00:36:13,005
No, there is no key of a minor. There

844
00:36:13,005 --> 00:36:14,965
Is no key Of, there is no key of a minor.

845
00:36:14,965 --> 00:36:16,085
There's just the key of C You know

846
00:36:16,085 --> 00:36:17,245
What, there's only the key of music in

847
00:36:17,245 --> 00:36:18,245
My book. My thread. Exactly.

848
00:36:18,245 --> 00:36:19,765
So it starts out in the key of C. Right.

849
00:36:19,865 --> 00:36:21,965
And then it goes to like that, that first, the end

850
00:36:21,965 --> 00:36:25,525
of the first verse, which is like right here.

851
00:36:26,335 --> 00:36:28,605
Maybe we just, it goes to this four chord

852
00:36:28,845 --> 00:36:29,845
F Right. This

853
00:36:29,845 --> 00:36:31,125
sort of seems like the resting place,

854
00:36:31,265 --> 00:36:32,245
But now we're in the key of

855
00:36:32,245 --> 00:36:35,085
F and you don't even realize it. The

856
00:36:35,085 --> 00:36:36,845
Four pretend to go to B flat. Right.

857
00:36:37,105 --> 00:36:39,245
That's what like, even if you don't know music,

858
00:36:39,315 --> 00:36:42,445
what she's done there is she's like, there's a pivot chord.

859
00:36:42,515 --> 00:36:44,045
Yeah. When it goes like that do,

860
00:36:46,385 --> 00:36:47,805
And it's supported by that and great

861
00:36:47,805 --> 00:36:49,165
Rhythm, that chord Yeah.

862
00:36:49,165 --> 00:36:52,765
That she does that rhythm on is both in the key of C

863
00:36:52,905 --> 00:36:55,165
and in the new key of F it's the one chord.

864
00:36:55,165 --> 00:36:57,445
Yeah. And so she's got this transition that happens

865
00:36:57,865 --> 00:37:00,165
and that when she goes into the first chord of the chorus,

866
00:37:00,215 --> 00:37:02,725
which is a B flat chord, which is not in the key of C Yeah.

867
00:37:02,725 --> 00:37:04,325
You're like, what is happening? Right.

868
00:37:04,465 --> 00:37:06,205
And the melody changes. And then she,

869
00:37:06,225 --> 00:37:09,085
she brilliantly weaves back down to that A minor.

870
00:37:09,155 --> 00:37:10,685
Yeah. But we know it's at the Ki C.

871
00:37:10,845 --> 00:37:12,765
'cause it, you know, the, she hits those interludes

872
00:37:12,765 --> 00:37:14,365
and it hits the one which is C

873
00:37:14,365 --> 00:37:15,365
And Yeah. And it's that delayed gratification.

874
00:37:15,365 --> 00:37:15,965

875
00:37:15,965 --> 00:37:17,085
But she knows, and you know, look,

876
00:37:17,205 --> 00:37:20,405
C is famously the most ah, sunshine plane.

877
00:37:20,405 --> 00:37:23,005
Totally. Totally. It's like joy and happy and optimism.

878
00:37:23,265 --> 00:37:25,045
And so it's like playing around until you get there.

879
00:37:25,045 --> 00:37:26,085
So it's like that crap.

880
00:37:26,085 --> 00:37:27,485
That's what I'm saying, like the lyrics.

881
00:37:27,625 --> 00:37:30,525
People can, like, you have to get in, you have to like

882
00:37:31,225 --> 00:37:33,125
listen, but then you can understand

883
00:37:33,125 --> 00:37:34,205
them and it speaks to you.

884
00:37:34,205 --> 00:37:35,325
Yeah. But the same thing,

885
00:37:35,325 --> 00:37:36,645
like she could do that with lyrics.

886
00:37:36,645 --> 00:37:37,685
You could do that with rhythm. Yeah.

887
00:37:37,685 --> 00:37:39,165
She could do that with harmony. She could do that

888
00:37:39,165 --> 00:37:41,285
with melody at a high level. All those at

889
00:37:41,285 --> 00:37:42,285
A very high level. That's why when people

890
00:37:42,285 --> 00:37:43,485
are like, why don't we don't even

891
00:37:43,485 --> 00:37:44,725
to know music theory or whatever.

892
00:37:45,245 --> 00:37:47,045
I mean, you don't need to know it, but you,

893
00:37:47,065 --> 00:37:48,285
You just know that it's happening.

894
00:37:48,285 --> 00:37:50,205
If you could know how to do what she just did. Yeah.

895
00:37:50,205 --> 00:37:52,325
Which is to modulate into a chorus like that

896
00:37:52,385 --> 00:37:53,765
and why that's so effective.

897
00:37:53,765 --> 00:37:55,165
Yeah. You get to make the tapestry.

898
00:37:55,165 --> 00:37:56,645
Like you get to make a really, I mean,

899
00:37:56,645 --> 00:37:58,085
nobody gets to make tapestry and then the

900
00:37:58,085 --> 00:38:00,325
Whole thing feels so Right. That's right. It's

901
00:38:00,325 --> 00:38:01,805
Like we were talking about like, you go into a restaurant

902
00:38:01,865 --> 00:38:04,925
and someone said, oh, I love this restaurant, man,

903
00:38:04,925 --> 00:38:06,205
the food was so good.

904
00:38:06,265 --> 00:38:08,565
We had such a good time. You're concentrating on the food.

905
00:38:08,565 --> 00:38:09,725
Like that's the lyrics and the

906
00:38:09,725 --> 00:38:11,005
melodies, the food at a restaurant.

907
00:38:11,005 --> 00:38:13,285
Right, right, right. Like the harmony is the ambiance,

908
00:38:13,285 --> 00:38:16,005
the lighting, the service, the service, the hospitality.

909
00:38:16,005 --> 00:38:17,125
That's right. That's right. That's right. And

910
00:38:17,125 --> 00:38:19,045
so when all those are nailed, you're like, oh my God,

911
00:38:19,045 --> 00:38:20,325
the food was that, that's what you remember.

912
00:38:20,665 --> 00:38:22,845
But without the other parts, it's not really that,

913
00:38:22,955 --> 00:38:25,045
that five, that five star Yeah.

914
00:38:25,505 --> 00:38:26,525
You know, experience.

915
00:38:26,625 --> 00:38:29,165
And by the way, that lift where it goes, you know, up

916
00:38:29,165 --> 00:38:31,005
that fourth when it goes in, it's too late.

917
00:38:31,155 --> 00:38:33,565
That is not Carole King's like invention either.

918
00:38:33,565 --> 00:38:34,725
No, that's Mozart.

919
00:38:34,995 --> 00:38:36,325
That is, you know, a,

920
00:38:36,605 --> 00:38:40,045
a Gershwin verse into Gregorian chant.

921
00:38:40,065 --> 00:38:42,285
That's also like great American song book standards usually

922
00:38:42,395 --> 00:38:44,165
will sometimes have a verse in a key

923
00:38:44,165 --> 00:38:45,885
and then modulate up in some way.

924
00:38:45,885 --> 00:38:47,485
Yeah. Sometimes. And up a perfect fourth

925
00:38:47,555 --> 00:38:49,485
because it's such a natural place to modulate.

926
00:38:49,485 --> 00:38:51,605
And they're, they're very close in sound. Yeah.

927
00:38:51,825 --> 00:38:53,365
But it's like a, it's a surprise

928
00:38:53,525 --> 00:38:54,565
you don't realize is happening.

929
00:38:54,565 --> 00:38:56,765
There's nothing on this record where you're like, oh my God,

930
00:38:56,875 --> 00:38:58,005
this is revolutionary.

931
00:38:58,305 --> 00:39:00,565
Except for the fact, the way that she put, like,

932
00:39:00,565 --> 00:39:02,685
so these harmonic elements all have been done.

933
00:39:02,905 --> 00:39:04,325
The melodic elements all have been done.

934
00:39:04,325 --> 00:39:07,085
The, the lyrics, you know, maybe not all done in this way,

935
00:39:07,085 --> 00:39:08,445
but she mean she's not, she's not making up words.

936
00:39:08,465 --> 00:39:11,485
So lyrics are like Jerome Kern style. Yeah. Clever lyrics.

937
00:39:11,505 --> 00:39:15,285
But what makes it, and I think for any great songwriter,

938
00:39:15,345 --> 00:39:17,165
and, and I mean, I put her in the, the level

939
00:39:17,165 --> 00:39:19,445
of your Billy Strayhorn, your George Gershwin.

940
00:39:19,445 --> 00:39:20,285
Totally. 100%. Yeah. I mean,

941
00:39:20,285 --> 00:39:21,445
because the craftsmanship is there.

942
00:39:21,565 --> 00:39:22,845
I I don't think there's any, but it's like,

943
00:39:22,865 --> 00:39:24,605
how do you take these elements?

944
00:39:24,675 --> 00:39:26,245
It's like when Apple came out with the iPhone,

945
00:39:26,245 --> 00:39:27,565
they didn't come up with the first smart No.

946
00:39:27,565 --> 00:39:29,005
They took this, this had been done this,

947
00:39:29,185 --> 00:39:31,805
and they supposedly made the most elegant, beautiful thing.

948
00:39:31,825 --> 00:39:33,445
And, um, you wanna just

949
00:39:33,445 --> 00:39:34,525
throw a little bit of those vocal back?

950
00:39:34,525 --> 00:39:35,645
Yeah. 'cause that's another thing.

951
00:39:35,645 --> 00:39:37,885
Like, like Carole King for whatever reason, is not known.

952
00:39:38,005 --> 00:39:39,165
I mean, she's certainly known as a great

953
00:39:39,165 --> 00:39:40,325
singer, but she's not.

954
00:39:40,345 --> 00:39:42,085
She, I would say if, if you're pressed,

955
00:39:42,255 --> 00:39:43,925
you'd be like incredible singer songwriter.

956
00:39:43,925 --> 00:39:46,925
There's always this, this caveat. But a fantastic singer,

957
00:39:47,085 --> 00:39:51,605
a fantastic background, you know, choir, gospel influences

958
00:39:51,605 --> 00:39:53,645
and like, understanding of how to put this stuff together.

959
00:39:54,105 --> 00:39:55,405
So this is all Carol here. Yeah.

960
00:39:55,465 --> 00:39:56,805
So what, what they would do. And

961
00:39:56,835 --> 00:39:57,835
It's too late.

962
00:39:59,195 --> 00:40:00,805
Yeah. It's all over desk. It's too late.

963
00:40:01,265 --> 00:40:04,045
So we try to make

964
00:40:06,235 --> 00:40:07,485
something inside

965
00:40:07,985 --> 00:40:08,985
The first solo one.

966
00:40:10,045 --> 00:40:13,885
I can't hide and I just can't make it.

967
00:40:14,665 --> 00:40:16,965
Oh, no, no.

968
00:40:18,445 --> 00:40:21,725
I mean on that make make it, make it,

969
00:40:21,725 --> 00:40:23,205
you're a little bit of the Brill building in there.

970
00:40:23,605 --> 00:40:24,805
Absolutely. Those teen bober hats. Absolute.

971
00:40:24,805 --> 00:40:27,165
You know those, those girl groups using those backgrounds?

972
00:40:27,315 --> 00:40:30,245
Yeah. Yeah. And it's like when they, when you put they, it's

973
00:40:30,245 --> 00:40:33,525
as much an art and science, uh, the of,

974
00:40:33,585 --> 00:40:35,085
of deciding when you're gonna put 'em in

975
00:40:35,085 --> 00:40:36,645
and go back to just the single main line.

976
00:40:36,645 --> 00:40:38,885
Right. Yeah. And all the back, the people knew how

977
00:40:38,885 --> 00:40:40,485
to craft these background vocals.

978
00:40:40,485 --> 00:40:41,725
And we're gonna have, there is a little bit

979
00:40:41,725 --> 00:40:46,125
with James Taylor and, um, um, boom, boom,

980
00:40:46,125 --> 00:40:47,165
boom on something else.

981
00:40:47,165 --> 00:40:48,685
Well, we're gonna get to that. There's some other,

982
00:40:48,685 --> 00:40:49,765
but it's most of the background vocal.

983
00:40:49,785 --> 00:40:51,885
Oh yeah. We you love me tomorrow. Yeah. Yeah.

984
00:40:52,025 --> 00:40:54,405
Uh, well the next track is another, uh,

985
00:40:54,405 --> 00:40:57,405
track about being away from home, being away from someone.

986
00:40:57,435 --> 00:40:59,045
Yeah. It's very similar to so far away.

987
00:40:59,045 --> 00:41:00,525
And they actually has some musical similarities.

988
00:41:00,525 --> 00:41:01,845
This is called Home again. Yeah.

989
00:41:07,065 --> 00:41:10,645
One of the great piano intros. I think sometimes. So simple.

990
00:41:14,575 --> 00:41:19,325
Again, it's so far sight.

991
00:41:23,665 --> 00:41:26,805
Really need someone to talk to.

992
00:41:27,625 --> 00:41:30,925
And nobody else knows how

993
00:41:30,985 --> 00:41:33,085
to comfort me tonight.

994
00:41:34,825 --> 00:41:36,485
Little James Taylor Acoustic.

995
00:41:41,545 --> 00:41:41,765
Ah,

996
00:41:42,185 --> 00:41:43,185
Little A seven.

997
00:41:43,235 --> 00:41:44,235
Oops.

998
00:41:50,965 --> 00:41:51,845
I won't

999
00:42:01,025 --> 00:42:02,025
Her Harmon.

1000
00:42:02,925 --> 00:42:05,125
I think that intro is so simple. It's really good.

1001
00:42:05,315 --> 00:42:06,485
Like, even if you didn't play piano, you

1002
00:42:06,485 --> 00:42:07,565
could learn not to play it like her.

1003
00:42:07,785 --> 00:42:10,965
But you could learn those and don't, don't, it's not hard.

1004
00:42:11,035 --> 00:42:13,565
Yeah. Right. But so you would just be like, ah.

1005
00:42:13,705 --> 00:42:14,845
But I mean, can we just play that?

1006
00:42:14,945 --> 00:42:16,405
That's the beginning getting into it.

1007
00:42:16,605 --> 00:42:21,245
'cause like what, she's not playing in there.

1008
00:42:21,365 --> 00:42:22,445
I would've overplayed that.

1009
00:42:23,035 --> 00:42:24,485
Yeah. We know. Yeah. Sometimes.

1010
00:42:25,225 --> 00:42:26,245
But if I came on, I'm just kidding.

1011
00:42:26,355 --> 00:42:27,885
Just Kidding. No, I would've you know

1012
00:42:28,445 --> 00:42:29,445
It home. Yeah. Don't

1013
00:42:29,445 --> 00:42:31,045
Have a jazz. We just play

1014
00:42:31,045 --> 00:42:32,045
That intro. Also, there's a bit

1015
00:42:32,045 --> 00:42:32,565
of a, of a

1016
00:42:32,725 --> 00:42:33,925
physical science lesson in there.

1017
00:42:33,945 --> 00:42:36,725
You know, snow is cold. Yeah. The rain is wet. True.

1018
00:42:36,905 --> 00:42:38,005
So we, we learned that

1019
00:42:38,005 --> 00:42:39,565
Hashtag facts. Yeah.

1020
00:42:39,905 --> 00:42:41,525
You know, another thing that's happening there

1021
00:42:41,825 --> 00:42:43,925
that's really cool that also happens in so far away

1022
00:42:43,985 --> 00:42:46,245
and is a, is a theme of this album,

1023
00:42:46,905 --> 00:42:48,765
is the triads that move around

1024
00:42:48,985 --> 00:42:49,885
The inlaid. Yeah.

1025
00:42:49,885 --> 00:42:52,205
So what she'll do is she'll take a, you know, a a chord

1026
00:42:52,205 --> 00:42:53,605
that's a basic triad

1027
00:42:53,945 --> 00:42:55,965
and she'll keep the base movement the same,

1028
00:42:55,965 --> 00:42:58,365
but she'll move that triad like on so far away.

1029
00:42:58,365 --> 00:43:02,245
It's like a over D to D. Yeah. A over D to D. Yeah.

1030
00:43:02,265 --> 00:43:03,525
And she's, what she's doing is sort

1031
00:43:03,525 --> 00:43:08,165
of like super imposing a chord over a base, a base part

1032
00:43:08,635 --> 00:43:11,845
that gives it a feeling of going away and coming home.

1033
00:43:12,865 --> 00:43:14,285
Um, which I think is so fascinating

1034
00:43:14,365 --> 00:43:15,645
'cause she does both of those moves.

1035
00:43:15,645 --> 00:43:17,685
Those sort of like five over one to one. Yeah.

1036
00:43:18,065 --> 00:43:20,405
On the sort of, I'm far away from home songs. Right. Yeah.

1037
00:43:20,405 --> 00:43:21,805
Like she goes away. But there's,

1038
00:43:21,895 --> 00:43:23,125
she's still home the whole time.

1039
00:43:23,225 --> 00:43:24,805
She knows how those triad. So she's think

1040
00:43:25,185 --> 00:43:26,405
Of home as just going away.

1041
00:43:26,405 --> 00:43:28,805
It's, it's, I don't know if that was what she was intending

1042
00:43:28,805 --> 00:43:30,805
with that stupid music theory thing,

1043
00:43:30,805 --> 00:43:32,765
but like that I was just No, but it's put on top of this.

1044
00:43:32,865 --> 00:43:34,485
But like, but it works. Be

1045
00:43:34,485 --> 00:43:35,485
Intentional. Yeah. It's not just, okay.

1046
00:43:35,485 --> 00:43:36,605
Yeah. She knows music theory

1047
00:43:36,605 --> 00:43:39,605
obviously, but it's like she knows how to use it to connect

1048
00:43:39,605 --> 00:43:40,845
with the emotion at that time.

1049
00:43:41,045 --> 00:43:44,685
I mean, like, this one's all 1, 4, 5 a EAD Tris over that.

1050
00:43:44,845 --> 00:43:46,205
A but it's like the order

1051
00:43:46,205 --> 00:43:48,205
that she does it when she puts it in there,

1052
00:43:48,275 --> 00:43:49,725
anybody can learn 1, 4, 5.

1053
00:43:50,105 --> 00:43:51,925
But it's like, how do you put it in there?

1054
00:43:52,195 --> 00:43:53,965
It's like, when I'm looking at a recipe, I'm like,

1055
00:43:54,075 --> 00:43:55,765
from a celebrity chef, I'm like,

1056
00:43:55,945 --> 00:43:56,965
I'm following all the directions.

1057
00:43:56,965 --> 00:43:58,485
Why didn't they come out the same? Yeah. You know.

1058
00:43:58,555 --> 00:44:00,445
Well, 'cause That's not a rhetorical question.

1059
00:44:00,505 --> 00:44:01,565
Answer me. Great.

1060
00:44:01,905 --> 00:44:05,245
Uh, next up is beautiful. This is great. This is like, um,

1061
00:44:05,555 --> 00:44:07,685
Dude, I listen to this every morning as I'm like, like

1062
00:44:07,685 --> 00:44:08,885
Look in the mirror. And you're just like,

1063
00:44:08,885 --> 00:44:09,885
Yeah. Yeah. I

1064
00:44:09,885 --> 00:44:10,805
pop. It's my pump up

1065
00:44:10,805 --> 00:44:11,965
Song, man. It's a daily affirmation.

1066
00:44:12,705 --> 00:44:17,485
You gotta get up with a smile on your face.

1067
00:44:20,685 --> 00:44:22,925
Should make this into a musical. They should make

1068
00:44:22,925 --> 00:44:24,165
This into a musical. It

1069
00:44:24,165 --> 00:44:25,165
Feels like a musical.

1070
00:44:26,025 --> 00:44:29,125
Better. You're gonna find yes. You'll

1071
00:44:29,605 --> 00:44:30,605
Larkey on here.

1072
00:44:30,835 --> 00:44:33,285
Beautiful. What would you call this groove?

1073
00:44:34,315 --> 00:44:35,605
It's kind of a musical group.

1074
00:44:37,455 --> 00:44:39,165
These session, they know how to play everything.

1075
00:44:40,395 --> 00:44:42,285
Waiting at the station.

1076
00:44:46,915 --> 00:44:48,605
Waiting at the station with a workday

1077
00:44:50,945 --> 00:44:52,765
Am She's telling stories. My friend is

1078
00:44:52,765 --> 00:44:53,765
Here.

1079
00:44:56,785 --> 00:44:57,885
Ion Little

1080
00:44:57,885 --> 00:45:02,645
Hope Throws that Diminished.

1081
00:45:09,885 --> 00:45:10,005
A

1082
00:45:24,435 --> 00:45:24,925
Smile's

1083
00:45:27,355 --> 00:45:28,445
Beatles esque that group.

1084
00:45:28,445 --> 00:45:30,085
Very Beatles. Beatles esque. Yeah, for sure.

1085
00:45:30,305 --> 00:45:31,645
It feels like a Paul song, doesn't it?

1086
00:45:31,665 --> 00:45:32,925
It does feel like a Paul song. Yeah.

1087
00:45:33,085 --> 00:45:34,965
I think it's better. Um, I'm sorry,

1088
00:45:35,875 --> 00:45:38,485
Next up is, this one's really interesting, right?

1089
00:45:38,485 --> 00:45:39,725
So it's way over yonder.

1090
00:45:39,795 --> 00:45:42,605
This is essentially a hymn without Jesus. Like this is Yeah.

1091
00:45:42,605 --> 00:45:45,485
It's a 12 eight. It's very much a gospel song.

1092
00:45:45,515 --> 00:45:47,245
This is like an ethical society hymn.

1093
00:45:47,515 --> 00:45:50,885
It's like this, uh, a Christian scientist. But

1094
00:45:50,885 --> 00:45:53,525
Even the structure of the lyrics are like very much, uh,

1095
00:45:53,715 --> 00:45:54,805
very, very hym like.

1096
00:45:54,805 --> 00:45:56,125
Yeah. And it's a really incredible,

1097
00:45:56,225 --> 00:45:57,225
And its a gospel too.

1098
00:45:59,075 --> 00:45:59,935
Way Over

1099
00:46:06,835 --> 00:46:07,975
is a place that

1100
00:46:08,245 --> 00:46:09,055
Precision drama

1101
00:46:15,065 --> 00:46:17,935
Where I can find shelter

1102
00:46:22,645 --> 00:46:26,335
from a hunger and cold.

1103
00:46:30,125 --> 00:46:32,575
Come On. Cooch. And the sweet taste

1104
00:46:38,355 --> 00:46:39,295
is so easy.

1105
00:46:45,635 --> 00:46:48,175
Oh, there's some great backgrounds on this. Yeah. For

1106
00:46:48,175 --> 00:46:49,175
Real.

1107
00:46:49,195 --> 00:46:50,195
Scored

1108
00:46:52,795 --> 00:46:54,975
Oh, on top.

1109
00:46:55,675 --> 00:46:56,975
That's where I,

1110
00:46:57,325 --> 00:46:59,895
It's like something that's like a Chris Stapleton chord

1111
00:46:59,895 --> 00:47:01,095
or something, you know what I mean?

1112
00:47:01,925 --> 00:47:06,615
It's a four chord button. I know. When I get there.

1113
00:47:11,475 --> 00:47:13,815
Second verse Right Thing. I'll see.

1114
00:47:14,495 --> 00:47:17,255
I mean, also, it just can't be overstated.

1115
00:47:17,325 --> 00:47:22,215
Like the reach of the old school Black and

1116
00:47:22,225 --> 00:47:23,225
Right here. Wait.

1117
00:47:23,225 --> 00:47:27,415
Oh yeah.

1118
00:47:27,415 --> 00:47:29,485
Who is that? That's

1119
00:47:29,485 --> 00:47:32,605
her. Oh, maybe not. No,

1120
00:47:32,605 --> 00:47:33,605
That's Mary Clayton. Mary Clay. That's

1121
00:47:33,605 --> 00:47:34,725
Right. Right. No, I was gonna say

1122
00:47:34,725 --> 00:47:35,725
That's right. That's the only

1123
00:47:35,725 --> 00:47:37,245
other background except for, um,

1124
00:47:37,775 --> 00:47:39,725
James Taylor and, uh, Joni

1125
00:47:39,885 --> 00:47:40,885
Mitchell. Yeah.

1126
00:47:40,885 --> 00:47:41,925
Now the reach

1127
00:47:42,105 --> 00:47:45,285
of the old school Black American church music. Yes.

1128
00:47:45,415 --> 00:47:48,085
Throughout This whole era, like the,

1129
00:47:48,105 --> 00:47:49,725
the baby boomer kids Yes.

1130
00:47:49,955 --> 00:47:52,885
Took gospel, that gospel music into all kinds

1131
00:47:52,885 --> 00:47:55,605
of different kinds of music, including Sarah. I,

1132
00:47:55,725 --> 00:47:57,045
I think this generation, and this is

1133
00:47:57,045 --> 00:47:58,125
exactly my parents' gener.

1134
00:47:58,245 --> 00:48:01,245
I mean, she's 83, I think now 84. My mom is like 81 80.

1135
00:48:01,305 --> 00:48:02,925
My dad's 84. Carole King.

1136
00:48:03,035 --> 00:48:06,885
Like, I think, okay, this can be a gross overstatement

1137
00:48:06,885 --> 00:48:08,605
that we might have to, to, to take out.

1138
00:48:10,245 --> 00:48:11,965
I think that the culture

1139
00:48:13,385 --> 00:48:15,365
in some ways was more informed

1140
00:48:15,865 --> 00:48:17,885
by the authentic Black American musical

1141
00:48:18,435 --> 00:48:19,805
influence on pop culture.

1142
00:48:20,435 --> 00:48:21,685
Sure. You know what I mean? I mean,

1143
00:48:21,685 --> 00:48:23,805
not just like we've talked about in the eighties, like

1144
00:48:23,825 --> 00:48:27,045
for kind of Gen Xers and maybe some Lin Yeah.

1145
00:48:27,065 --> 00:48:28,765
Gen Xers, I guess. You know, Michael Jackson.

1146
00:48:29,265 --> 00:48:31,165
And, but I mean, I think that there was like,

1147
00:48:31,165 --> 00:48:34,885
there was a sort of gentrification of pop music with r and b

1148
00:48:35,065 --> 00:48:36,085
and rap and pop

1149
00:48:36,085 --> 00:48:37,245
and everything that all got kind

1150
00:48:37,245 --> 00:48:39,125
of hodgepodge at a certain point.

1151
00:48:39,125 --> 00:48:40,405
And there's certainly been strong influence.

1152
00:48:40,405 --> 00:48:41,845
But you talk about gospel, you talk about jazz,

1153
00:48:41,945 --> 00:48:43,165
you talk about blues.

1154
00:48:43,165 --> 00:48:45,325
Yep. You know, at this time, like,

1155
00:48:45,325 --> 00:48:49,085
and I think Carole King has one of the most authentic, um,

1156
00:48:49,845 --> 00:48:51,845
approaches to say a gospel influence.

1157
00:48:51,845 --> 00:48:53,405
Like she is singing herself.

1158
00:48:53,405 --> 00:48:55,885
Like she has such an authentic connection with that music.

1159
00:48:55,945 --> 00:48:57,405
But she's not like trying to imitate.

1160
00:48:57,565 --> 00:48:58,805
I mean, you could hear it in her Aretha Franklin

1161
00:48:58,985 --> 00:49:01,405
and Aretha Franklin had a hit on her song, you know?

1162
00:49:01,405 --> 00:49:02,565
Well, I mean, yeah. I mean, how do you escape that?

1163
00:49:02,665 --> 00:49:04,445
You make me feel like a natural woman has the gospel

1164
00:49:04,445 --> 00:49:05,925
influences in their Yeah. And she's gonna close

1165
00:49:05,925 --> 00:49:06,925
Out the record with it, You know?

1166
00:49:06,925 --> 00:49:08,685
I know. But you can hear it in her piano playing. Exactly.

1167
00:49:08,705 --> 00:49:11,205
You can hear all of that language in her piano playing.

1168
00:49:11,355 --> 00:49:13,285
Yeah. And I mean, look, she came up in New York at a time

1169
00:49:13,315 --> 00:49:17,125
when there was like, you know, a cross cultural with,

1170
00:49:17,125 --> 00:49:19,845
with artists and musicians of a certain ilk, you know,

1171
00:49:19,855 --> 00:49:23,365
cross pollinization, I mean, with ex extreme problems

1172
00:49:23,425 --> 00:49:25,165
of segregation in our country and everything.

1173
00:49:25,165 --> 00:49:26,285
Yeah. But in terms of like the music,

1174
00:49:26,285 --> 00:49:27,765
there was a connection.

1175
00:49:27,765 --> 00:49:28,885
I know, like my aunts and uncles

1176
00:49:28,885 --> 00:49:30,645
and stuff, everybody, like, they were kind up on ch

1177
00:49:30,755 --> 00:49:32,485
checker fats dominant.

1178
00:49:32,605 --> 00:49:33,965
I mean, think about the influence in terms

1179
00:49:33,965 --> 00:49:36,285
of like grooves and blues Yeah. And church music.

1180
00:49:36,285 --> 00:49:37,925
There's something special about the church music though.

1181
00:49:37,925 --> 00:49:41,645
Yeah. From that, that early era that's just has, has, uh,

1182
00:49:42,585 --> 00:49:45,045
uh, influenced generations

1183
00:49:45,045 --> 00:49:47,685
and generations of music, of all kinds of musicians.

1184
00:49:47,685 --> 00:49:48,845
Yeah. It's, it's really magical

1185
00:49:49,025 --> 00:49:50,205
And inspired. Like, you know what I mean?

1186
00:49:50,955 --> 00:49:52,685
There's something about it that just hits

1187
00:49:52,685 --> 00:49:53,725
us and well, in our soul.

1188
00:49:54,045 --> 00:49:56,085
I mean, that's what's supposed to do. And it, it almost like

1189
00:49:56,085 --> 00:49:57,725
The Lord came Down in Job well done

1190
00:49:57,725 --> 00:49:59,525
because it does hits everybody right.

1191
00:49:59,525 --> 00:50:01,605
In their soul. Yeah. Uh, next up is,

1192
00:50:01,675 --> 00:50:03,245
well this speaks for itself, doesn't it?

1193
00:50:05,295 --> 00:50:09,405
Small, small piano starts. I love 'em.

1194
00:50:13,115 --> 00:50:15,205
Amazing. That's amazing. Damn. That's

1195
00:50:15,205 --> 00:50:16,285
A damn good Intro.

1196
00:50:16,305 --> 00:50:17,305
That's a damn good intro.

1197
00:50:19,985 --> 00:50:23,005
And you need some love and

1198
00:50:29,475 --> 00:50:32,485
Nothing Is going right.

1199
00:50:35,865 --> 00:50:39,445
Ugh. We're comping. I know. That's

1200
00:50:39,445 --> 00:50:40,445
What I'm saying. She's like, she's

1201
00:50:40,445 --> 00:50:41,525
like an arrange in there. Yeah.

1202
00:50:41,565 --> 00:50:44,005
I mean, she she's busy too. That's the thing. And soon

1203
00:50:44,655 --> 00:50:46,365
Don't do film with play guys. Don't be scared

1204
00:50:46,365 --> 00:50:47,365
To play. Yeah. Especially like, there's hardly

1205
00:50:47,365 --> 00:50:48,005
any drums

1206
00:50:48,005 --> 00:50:49,125
going. Like, there's so much space.

1207
00:50:49,185 --> 00:50:50,685
Man, can I pause this for a second? Yeah.

1208
00:50:51,145 --> 00:50:52,325
To, on that point. Yeah.

1209
00:50:52,325 --> 00:50:54,445
You know how many singer songwriter albums I've been,

1210
00:50:54,445 --> 00:50:56,525
I've asked to do, and they're, and like I get in there

1211
00:50:56,525 --> 00:50:58,285
and I start playing and they're just like, just play

1212
00:50:59,195 --> 00:51:01,565
just one little chord like this. Look

1213
00:51:01,565 --> 00:51:02,565
At the look on his face. C

1214
00:51:02,565 --> 00:51:03,605
can we get him over you? I

1215
00:51:03,605 --> 00:51:04,605
Understand. I

1216
00:51:04,605 --> 00:51:06,485
understand. You don't want people just playing a bunch

1217
00:51:06,485 --> 00:51:08,565
of random s**t all over your album. I get it.

1218
00:51:08,565 --> 00:51:10,205
Don't call a Jan guy this and

1219
00:51:10,205 --> 00:51:11,205
Listen, I'm a professional. I'm

1220
00:51:11,205 --> 00:51:12,245
gonna do what you asked me to do. No,

1221
00:51:12,245 --> 00:51:13,165
You're not. You're gonna play, play a little.

1222
00:51:13,185 --> 00:51:14,285
But when you listen to some

1223
00:51:14,285 --> 00:51:15,845
of the greatest singer songwriters of all time,

1224
00:51:15,845 --> 00:51:17,005
they're playing, I know.

1225
00:51:17,005 --> 00:51:18,285
They're actually playing music. Yeah.

1226
00:51:18,305 --> 00:51:19,485
And letting the moment happen

1227
00:51:19,505 --> 00:51:20,565
in the way that it's supposed to happen.

1228
00:51:20,945 --> 00:51:22,925
And it makes it magical and way less sterile.

1229
00:51:22,925 --> 00:51:24,285
And I'm just gonna put that out there right now.

1230
00:51:24,465 --> 00:51:25,465
You're absolutely right. Come, You come play

1231
00:51:25,465 --> 00:51:26,245
on my record. You

1232
00:51:26,245 --> 00:51:28,045
get to play. That's right. I'm gonna let you play.

1233
00:51:28,095 --> 00:51:29,095
Right. I'm just saying,

1234
00:51:30,195 --> 00:51:31,195
Boom. Get off

1235
00:51:31,195 --> 00:51:33,045
your soapbox. I live it. I love it. Stay on it.

1236
00:51:34,255 --> 00:51:36,345
Pick Us up. But, but look where she starts from.

1237
00:51:36,605 --> 00:51:37,905
Oh, no, no. That's fine. Keep on.

1238
00:51:39,645 --> 00:51:42,065
And Her copy is, it's so appropriate what she's in.

1239
00:51:42,475 --> 00:51:43,665
She's not overplaying. No.

1240
00:51:43,665 --> 00:51:45,505
She's playing at the right place, the right stuff.

1241
00:51:46,525 --> 00:51:47,585
Moving around the

1242
00:51:47,965 --> 00:51:50,905
Winter, spring, summer, fall.

1243
00:51:54,035 --> 00:51:56,505
She's definitely got some Aretha piano influence too.

1244
00:51:56,525 --> 00:51:58,145
You can hear it like the way she moves her tris.

1245
00:52:01,225 --> 00:52:02,345
I love that little dominant chord

1246
00:52:02,345 --> 00:52:04,065
move that happens when I walk down. You've

1247
00:52:04,065 --> 00:52:05,065
Got a friend.

1248
00:52:08,285 --> 00:52:10,345
So we've covered love breaking up. Oh yeah.

1249
00:52:10,805 --> 00:52:13,785
For, for, you know, a across the pond. No. For longing.

1250
00:52:13,855 --> 00:52:15,625
It's unbelievable. We've covered like falling in love.

1251
00:52:15,795 --> 00:52:18,145
We've covered being far away and missing someone.

1252
00:52:18,235 --> 00:52:20,945
We've covered a bit. One of the greatest breakup songs ever.

1253
00:52:21,335 --> 00:52:22,905
More being away from home. Yeah.

1254
00:52:22,915 --> 00:52:24,305
We've covered a daily affirmation.

1255
00:52:24,305 --> 00:52:26,585
Daily affirmation, pumping Peter up in the mirror. We've

1256
00:52:26,585 --> 00:52:27,305
Covered, we, we, we went to the

1257
00:52:27,305 --> 00:52:28,945
Ethical Society for Church. We got

1258
00:52:29,405 --> 00:52:30,865
The Ethical Society hymn,

1259
00:52:31,245 --> 00:52:34,505
and now we've got like, maybe one of the greatest songs

1260
00:52:34,725 --> 00:52:36,425
to a friend ever written as well.

1261
00:52:36,425 --> 00:52:38,665
Right. Like the thing that I wrote down on this song,

1262
00:52:38,665 --> 00:52:39,945
like I started to write down a bunch

1263
00:52:39,945 --> 00:52:41,105
of musical crap on this song,

1264
00:52:41,605 --> 00:52:43,945
but the lyrics of the chorus, which she wrote,

1265
00:52:43,965 --> 00:52:45,345
you've got a, oh my.

1266
00:52:45,405 --> 00:52:46,745
Are you, just call out my name

1267
00:52:47,085 --> 00:52:48,585
and you know, wherever I am,

1268
00:52:48,775 --> 00:52:50,505
I'll come running to see you again.

1269
00:52:50,645 --> 00:52:52,185
Winter, spring, summer or fall.

1270
00:52:52,525 --> 00:52:54,545
All you've gotta do is call and I'll be there.

1271
00:52:55,165 --> 00:52:56,265
You've got a friend.

1272
00:52:56,565 --> 00:52:59,225
And if you've, again, if you've ever tried to write a song

1273
00:52:59,225 --> 00:53:01,585
that's that direct, that earnest,

1274
00:53:01,655 --> 00:53:04,025
that sincere without it being corny

1275
00:53:04,025 --> 00:53:06,465
or syrupy with it, meaning something

1276
00:53:06,765 --> 00:53:08,185
to the person you're speaking it to.

1277
00:53:08,325 --> 00:53:12,305
And by the way, punching like every word is like, is like,

1278
00:53:12,885 --> 00:53:13,985
sounds amazing.

1279
00:53:14,145 --> 00:53:15,825
Rhythmically is in the pocket

1280
00:53:16,285 --> 00:53:18,705
and telling the story in such a beautiful way.

1281
00:53:19,015 --> 00:53:20,265
It's mind blowing. Call my name

1282
00:53:20,265 --> 00:53:21,345
Out loud. There's so many great

1283
00:53:21,345 --> 00:53:22,345
Lines in this. I feel like

1284
00:53:22,345 --> 00:53:23,145
this should have won like

1285
00:53:23,145 --> 00:53:24,185
Song of the Year or something.

1286
00:53:24,385 --> 00:53:26,485
I know. I mean, is this, wait,

1287
00:53:26,485 --> 00:53:27,525
did it win Song of the Year?

1288
00:53:28,065 --> 00:53:29,325
I'm gonna, I'm gonna put this up.

1289
00:53:29,425 --> 00:53:30,685
I'm gonna put this out there. And yeah,

1290
00:53:30,685 --> 00:53:31,765
we're at the beginning of the second side.

1291
00:53:31,765 --> 00:53:33,685
What a great song to start the B side,

1292
00:53:34,025 --> 00:53:35,685
but like, uh, mean the second side.

1293
00:53:36,635 --> 00:53:39,685
This this is hard because there's so many great songs.

1294
00:53:39,965 --> 00:53:41,525
I mean, I think there's a little bit of a drop off.

1295
00:53:41,525 --> 00:53:42,605
We'll talk about that towards the end.

1296
00:53:42,985 --> 00:53:45,965
But, um, I think this may be the best

1297
00:53:45,965 --> 00:53:47,085
song on this record only.

1298
00:53:47,085 --> 00:53:49,165
And not to denigrate any of the other ones, but

1299
00:53:49,165 --> 00:53:51,845
because I think this might be one of the five to 10

1300
00:53:52,995 --> 00:53:55,285
best like American pop songs.

1301
00:53:55,965 --> 00:53:58,085
I, I'm, I'm including jazz. I'm including Blue.

1302
00:53:58,105 --> 00:54:00,205
I'm including everything. Well, couldn't it be on,

1303
00:54:00,215 --> 00:54:01,765
would this not be on the top 10? I mean,

1304
00:54:02,005 --> 00:54:03,405
For that to happen, it would have to be,

1305
00:54:03,555 --> 00:54:05,525
have been recorded by many different artists.

1306
00:54:05,545 --> 00:54:06,685
Oh, in a very high level.

1307
00:54:06,685 --> 00:54:08,005
That didn't happen, did it? Oh yes, it did happen.

1308
00:54:11,465 --> 00:54:13,045
Oh, in the same year. In fact,

1309
00:54:13,345 --> 00:54:15,045
In the very same year, jt,

1310
00:54:16,315 --> 00:54:19,925
When you are down in trouble

1311
00:54:22,105 --> 00:54:24,085
and you need a helping

1312
00:54:24,795 --> 00:54:27,965
Hand, This is Mud slide slam.

1313
00:54:27,965 --> 00:54:28,965
Right?

1314
00:54:29,875 --> 00:54:31,405
Nothing going.

1315
00:54:36,985 --> 00:54:38,805
Jts good. He's So good. Makes me wanna

1316
00:54:38,805 --> 00:54:39,885
donate to PBS too.

1317
00:54:39,885 --> 00:54:41,045
Every time I hear I'm singing this

1318
00:54:42,505 --> 00:54:43,505
And soon.

1319
00:54:43,545 --> 00:54:45,005
No, 'cause they did that big video. Yeah. Though

1320
00:54:46,105 --> 00:54:47,525
We need to, we get the DVD set

1321
00:54:48,825 --> 00:54:49,825
And a toque bag.

1322
00:54:50,565 --> 00:54:53,525
I got too many Toque bag. Was this a bigger hit

1323
00:54:53,545 --> 00:54:54,765
for him that year than her?

1324
00:54:54,945 --> 00:54:55,965
It might've been. 'cause this

1325
00:54:55,965 --> 00:54:57,245
wasn't one of the biggest hits on this.

1326
00:54:57,365 --> 00:54:58,565
I mean, she had some, by the way.

1327
00:54:58,565 --> 00:55:00,485
We've listened to two, not even the best two.

1328
00:55:00,625 --> 00:55:01,645
Oh, not even the best one.

1329
00:55:02,005 --> 00:55:03,045
Planting your flag. You know what the best

1330
00:55:03,045 --> 00:55:04,085
one is, is very good.

1331
00:55:06,515 --> 00:55:09,325
Come Talk about great keyboard intros.

1332
00:55:12,465 --> 00:55:13,725
Listen, Ain't fair. 'cause this is a

1333
00:55:13,725 --> 00:55:14,765
duet. St. Louis isn't

1334
00:55:14,765 --> 00:55:15,765
The house right now.

1335
00:55:15,785 --> 00:55:16,005
Yes.

1336
00:55:21,145 --> 00:55:23,445
That's Roberta Flack. Donnie Hathaway.

1337
00:55:23,815 --> 00:55:25,285
We're gonna let this ride for just a second,

1338
00:55:25,345 --> 00:55:26,345
Please.

1339
00:55:31,395 --> 00:55:34,615
Oh, One of the best roads tremolos ever

1340
00:55:34,795 --> 00:55:35,795
On the whole album.

1341
00:55:37,545 --> 00:55:41,375
Donna, Talk about good compers, Donny

1342
00:55:41,715 --> 00:55:42,855
and, and Roberto.

1343
00:55:43,145 --> 00:55:47,455
Close eyes and think of me One of one. Donny. Do this

1344
00:55:47,455 --> 00:55:48,495
Record. Well, did we do it

1345
00:55:48,685 --> 00:55:49,685
Soon? We need to redo

1346
00:55:49,685 --> 00:55:50,075
it.

1347
00:55:52,005 --> 00:55:54,415
That brighten up

1348
00:55:58,355 --> 00:55:59,355
And they're doing it. Just,

1349
00:55:59,355 --> 00:56:00,575
this is all Carole King.

1350
00:56:00,605 --> 00:56:01,735
This is not like an, I mean,

1351
00:56:01,735 --> 00:56:03,215
of course they're putting their flavor on it.

1352
00:56:03,875 --> 00:56:07,695
You just called Oh, of my name

1353
00:56:09,635 --> 00:56:12,615
and you know, wherever.

1354
00:56:26,185 --> 00:56:28,165
Oh, There's

1355
00:56:28,165 --> 00:56:29,245
Got a lot of space on this too.

1356
00:56:34,225 --> 00:56:36,605
You call

1357
00:56:36,865 --> 00:56:38,005
That's one, that's one

1358
00:56:38,005 --> 00:56:39,285
additional chord they added on there.

1359
00:56:47,425 --> 00:56:51,235
Whatcha doing? Whatcha doing? No, that's great.

1360
00:56:52,345 --> 00:56:54,075
Okay, so this is my, this is my thing. Okay.

1361
00:56:54,495 --> 00:56:58,475
So now I'm even more emboldened to say that this is one

1362
00:56:58,475 --> 00:57:00,435
of the greatest songs ever written for sure.

1363
00:57:00,855 --> 00:57:02,075
Um, I don't even know. I have to caveat

1364
00:57:02,555 --> 00:57:03,635
Americans prop songs.

1365
00:57:03,635 --> 00:57:05,635
That's not controversial, Peter. It's a great song.

1366
00:57:05,735 --> 00:57:06,715
Top 10. Well, I mean,

1367
00:57:06,715 --> 00:57:07,875
there's a lot of great songs. There's

1368
00:57:07,875 --> 00:57:09,395
A lot of great songs. This is among them. But

1369
00:57:09,395 --> 00:57:13,155
I, but I think one of the barometers on that is do great

1370
00:57:13,375 --> 00:57:16,355
and I mean, great fir first class world class artists

1371
00:57:17,215 --> 00:57:18,835
not only want to sing your music,

1372
00:57:19,015 --> 00:57:21,595
but do they like slide right in?

1373
00:57:21,595 --> 00:57:23,795
Like Roberta Flack, Donny Hathaway, James Tyler's,

1374
00:57:23,795 --> 00:57:25,075
countless others have done this song.

1375
00:57:25,455 --> 00:57:28,995
Do they come in and Aretha Franklin like on that? Yeah.

1376
00:57:28,995 --> 00:57:30,675
Like, and, and Own the song.

1377
00:57:30,695 --> 00:57:31,915
But they don't have to change it a bunch.

1378
00:57:31,985 --> 00:57:34,035
Like, you, you, you hate, you never wanna say,

1379
00:57:34,035 --> 00:57:35,075
oh, that song sings itself.

1380
00:57:35,235 --> 00:57:37,315
'cause that takes away from the artistry

1381
00:57:37,335 --> 00:57:38,355
in order to do that.

1382
00:57:38,575 --> 00:57:41,755
But for a great artist to come in, the song kind

1383
00:57:41,755 --> 00:57:43,235
of does sing itself when it's at this level.

1384
00:57:43,555 --> 00:57:45,595
Absolutely. Like there's a match between, it's like,

1385
00:57:45,595 --> 00:57:47,035
you know, if there's a Ferrari parked out there,

1386
00:57:47,035 --> 00:57:48,915
we're gonna both go get excited and then,

1387
00:57:48,915 --> 00:57:50,995
but we're gonna be like, oh, what do we do with it?

1388
00:57:51,095 --> 00:57:52,475
We need a real driver to come along

1389
00:57:52,475 --> 00:57:53,915
and be like, oh, hop in the back.

1390
00:57:53,945 --> 00:57:55,435
Boys doesn't even, there's no

1391
00:57:55,585 --> 00:57:56,155
Back. There's no back.

1392
00:57:56,225 --> 00:57:57,115
Yeah. But you know what I'm saying.

1393
00:57:57,135 --> 00:57:57,795
No, I hear what you're saying.

1394
00:57:57,795 --> 00:58:00,155
It's like it's gonna be a little bit wasted on us. Yeah.

1395
00:58:00,295 --> 00:58:03,555
And I think that when you have these amazing artists come in

1396
00:58:03,855 --> 00:58:06,075
and just own these songs, it, it, like,

1397
00:58:06,075 --> 00:58:07,235
that's just a, a testimony.

1398
00:58:07,375 --> 00:58:09,155
Not that it needed to be recorded by anyone, but,

1399
00:58:09,175 --> 00:58:11,395
but Carol it still would be great, but great song.

1400
00:58:11,445 --> 00:58:12,555
Great song, great lyric.

1401
00:58:12,555 --> 00:58:14,035
I mean, it's got, it's the whole package. Yeah. Thank

1402
00:58:14,035 --> 00:58:15,035
You. Fun to play. Thank

1403
00:58:15,035 --> 00:58:16,755
you, Carol. Thank you jt. Yeah.

1404
00:58:16,755 --> 00:58:18,155
Thank you. Donny and Roberta. Yeah.

1405
00:58:18,155 --> 00:58:20,675
Uh, next up is this gym where you lead?

1406
00:58:22,295 --> 00:58:26,435
Oh yeah. This guy Cooch

1407
00:58:27,405 --> 00:58:28,675
Cooch. Crushing Cooch

1408
00:58:28,675 --> 00:58:29,675
Is crushing. Oh,

1409
00:58:29,675 --> 00:58:32,595
is that all Drum, Russ?

1410
00:58:32,895 --> 00:58:34,315
I'm sorry. Are we going to the, we're

1411
00:58:34,355 --> 00:58:35,355
Starting on the five Babe. Starting

1412
00:58:35,355 --> 00:58:36,675
on the five. I mean the G

1413
00:58:37,585 --> 00:58:38,715
Yeah, we're on, we're the key

1414
00:58:38,795 --> 00:58:40,955
G here, Dominic Lincoln.

1415
00:58:43,455 --> 00:58:44,995
So We'll go up to the three. Oh no, it's, we're

1416
00:58:44,995 --> 00:58:45,995
Gonna go somewhere else. Let's lift

1417
00:58:45,995 --> 00:58:48,635
up. Yeah. New keys. Oh,

1418
00:58:49,315 --> 00:58:52,355
I follow anywhere.

1419
00:58:57,295 --> 00:58:59,515
Her road flying on this track is great too. I mean,

1420
00:59:03,155 --> 00:59:05,635
I might be wrong on this, I might be making s**t up.

1421
00:59:05,635 --> 00:59:09,515
My apologies. But I feel like James Jamerson is like all

1422
00:59:09,515 --> 00:59:12,835
over as an influence with Charles Larkey on this

1423
00:59:13,055 --> 00:59:14,515
and just in general from this period.

1424
00:59:14,595 --> 00:59:15,555
I mean, at this period it would

1425
00:59:15,555 --> 00:59:16,915
be an influence on everybody.

1426
00:59:17,185 --> 00:59:18,835
Yeah. But what a great thing. Yeah.

1427
00:59:18,865 --> 00:59:20,595
Like, you know what I'm saying? Like, he, like that's,

1428
00:59:20,595 --> 00:59:22,085
and it's not just like he's aping him.

1429
00:59:22,165 --> 00:59:24,445
I mean, Charles Larkey iss killing it all over this record,

1430
00:59:24,825 --> 00:59:27,005
but like that ability to play bing ding ding.

1431
00:59:27,915 --> 00:59:29,845
Like all that busy stuff. Yeah, man.

1432
00:59:29,985 --> 00:59:31,885
He was, Jamerson was like,

1433
00:59:32,275 --> 00:59:33,885
it's like the Duke Ellington of Big Ba.

1434
00:59:33,925 --> 00:59:35,645
I like, he changed the game, you know? Yeah, for

1435
00:59:35,645 --> 00:59:36,645
Sure. So, uh,

1436
00:59:36,645 --> 00:59:38,765
this was written by, this song was written

1437
00:59:38,765 --> 00:59:40,365
by Carole King and Tony Stern, and it

1438
00:59:40,625 --> 00:59:41,925
Is a bass player magazine Gonna cancel

1439
00:59:41,925 --> 00:59:43,085
me for saying that. Possibly. I don't

1440
00:59:43,085 --> 00:59:44,085
Know. Okay. Um,

1441
00:59:44,085 --> 00:59:47,165
this has, again, Mary Clayton on,

1442
00:59:47,225 --> 00:59:50,085
on background vocals and Julia Tillman on background vocals.

1443
00:59:50,085 --> 00:59:54,125
Yeah. But this isn't the most popular version of this song.

1444
00:59:54,225 --> 00:59:55,565
Of course. The most popular version,

1445
00:59:55,595 --> 00:59:56,645
well, cousin is of this.

1446
00:59:56,665 --> 00:59:59,205
No, it's not. 'cause the most popular version was recorded

1447
00:59:59,225 --> 01:00:02,445
in 2000 by Carole King and her daughter.

1448
01:00:02,535 --> 01:00:07,125
Right. Lois Goffin. Jerry and Carol's daughter Lois. Yeah.

1449
01:00:07,305 --> 01:00:10,765
And it became the theme song for the hit TV show.

1450
01:00:11,745 --> 01:00:13,165
The Gilmore Girls Loving

1451
01:00:13,305 --> 01:00:14,305
You.

1452
01:00:14,905 --> 01:00:15,125
Do

1453
01:00:17,405 --> 01:00:21,485
I Shake a

1454
01:00:21,485 --> 01:00:25,085
Head? The late

1455
01:00:25,365 --> 01:00:26,365
Nineties production. Oh, I love

1456
01:00:26,365 --> 01:00:28,165
The Late Don't get star on what?

1457
01:00:28,165 --> 01:00:30,685
A sucker on for late nineties production. That Bass Drum

1458
01:00:33,025 --> 01:00:37,805
Family tie that It's the same song,

1459
01:00:38,275 --> 01:00:39,275
Same delivery, right.

1460
01:00:40,475 --> 01:00:41,475
Just update it.

1461
01:00:43,665 --> 01:00:47,965
Little Lole. Yeah. Little Soy.

1462
01:00:48,545 --> 01:00:49,125
You know what I'm saying?

1463
01:00:51,425 --> 01:00:52,445
But all the elements are there.

1464
01:00:53,945 --> 01:00:54,845
Is that the daughter there?

1465
01:00:59,065 --> 01:00:59,405
Oh, there.

1466
01:01:04,285 --> 01:01:05,485
I mean, very fitting. I like it.

1467
01:01:05,485 --> 01:01:06,525
She's got like, like an early

1468
01:01:06,585 --> 01:01:08,525
Two thousands sort of sassy voice. Very, very,

1469
01:01:08,525 --> 01:01:09,525
Very cute. That, that her

1470
01:01:09,525 --> 01:01:11,365
and her daughter recorded the song about a

1471
01:01:11,365 --> 01:01:13,605
show about, uh, you know,

1472
01:01:13,605 --> 01:01:15,725
the Gilmore Girls about a mother daughter famously.

1473
01:01:15,755 --> 01:01:18,125
Yeah. And, and actually on the show itself, uh,

1474
01:01:18,125 --> 01:01:20,045
Carole King played a recurring character

1475
01:01:20,045 --> 01:01:22,285
that owned the music store in Stars Hollow,

1476
01:01:22,385 --> 01:01:23,525
the town where the show was set.

1477
01:01:23,525 --> 01:01:24,565
And she was always on the show.

1478
01:01:24,945 --> 01:01:26,525
Uh, selling there were all like, um,

1479
01:01:26,825 --> 01:01:28,165
Rory's friends were always in a band

1480
01:01:28,185 --> 01:01:30,565
and she would sell them musical instruments. I

1481
01:01:30,565 --> 01:01:32,205
Wouldn't know anything about that, which is crazy.

1482
01:01:32,445 --> 01:01:34,445
'cause there's two people in my household, my daughter,

1483
01:01:34,545 --> 01:01:37,165
my wife that love that show.

1484
01:01:37,875 --> 01:01:41,085
Yeah. I, I'm proudly have never seen that show.

1485
01:01:41,285 --> 01:01:42,205
I, I don't know how I've

1486
01:01:42,205 --> 01:01:43,805
avoided whenever comes on in the house. Yeah. I

1487
01:01:43,965 --> 01:01:44,965
I leave the room. I I don't love the

1488
01:01:44,965 --> 01:01:45,445
show. Okay.

1489
01:01:45,445 --> 01:01:46,845
I've watched every episode, so I'm not missing episode.

1490
01:01:46,915 --> 01:01:49,485
I've seen every, just because it's been on, like,

1491
01:01:49,645 --> 01:01:50,925
it usually starts around October.

1492
01:01:51,475 --> 01:01:53,885
Heather will start watching season's Gilmore

1493
01:01:53,885 --> 01:01:55,045
season season. She starts with a season.

1494
01:01:55,105 --> 01:01:58,005
Is it pimp, pumpkin spice, Pumpkin spice latte, dsl,

1495
01:01:58,075 --> 01:01:59,485
Pimping spice Latte Spice.

1496
01:01:59,985 --> 01:02:01,485
And That's when Starbucks starts

1497
01:02:01,485 --> 01:02:02,645
pimping their spice lattes.

1498
01:02:02,645 --> 01:02:04,245
So it's just always on around my house.

1499
01:02:04,425 --> 01:02:06,405
And I think I've seen at least a little bit of, I've

1500
01:02:06,405 --> 01:02:07,405
Avoid it, dude. I'm crafty.

1501
01:02:07,405 --> 01:02:08,045
I'm like a

1502
01:02:08,045 --> 01:02:09,445
shapeshifter. When that show comes on,

1503
01:02:09,725 --> 01:02:11,445
I will say I'm the rhythm of the dialogue.

1504
01:02:11,445 --> 01:02:13,165
Like it's Amy Sherman Paladino who's done

1505
01:02:13,165 --> 01:02:14,325
like the Marvelous Miss Maisel.

1506
01:02:14,325 --> 01:02:16,725
Like the, the, the snappy rhythm of the dialogue.

1507
01:02:16,745 --> 01:02:19,925
The Sorkin esque Paladino dialogue is

1508
01:02:19,925 --> 01:02:21,125
like, it's its own sort of

1509
01:02:21,125 --> 01:02:22,565
Music mean the way people never would talk to each

1510
01:02:22,565 --> 01:02:23,565
Other. People never talk like

1511
01:02:23,565 --> 01:02:23,685
that.

1512
01:02:23,785 --> 01:02:24,845
And every character talks the same.

1513
01:02:24,845 --> 01:02:26,045
And it's amazing. Yeah. Okay.

1514
01:02:26,355 --> 01:02:29,885
Next up is she's redoing her very first hit that she had.

1515
01:02:29,885 --> 01:02:31,525
Yeah. With the Shells. Will You Love Me Tomorrow?

1516
01:02:41,905 --> 01:02:43,565
Man, Her piano playing is just so,

1517
01:02:44,985 --> 01:02:45,985
So easy.

1518
01:02:47,375 --> 01:02:48,045
Effortless.

1519
01:02:58,305 --> 01:03:03,045
You give your love. So,

1520
01:03:14,235 --> 01:03:14,455
Ooh,

1521
01:03:25,325 --> 01:03:25,615
love

1522
01:03:31,315 --> 01:03:34,345
Those background vocals are done by Joni Mitchell

1523
01:03:34,345 --> 01:03:35,665
and James Taylor Is this,

1524
01:03:35,725 --> 01:03:36,825
you got a little bit of 'em right here

1525
01:03:40,135 --> 01:03:41,135
With words.

1526
01:03:41,855 --> 01:03:42,425
Turn the bridge.

1527
01:03:46,165 --> 01:03:47,305
You can hear each of 'em in there.

1528
01:03:47,305 --> 01:03:48,305
Yeah. Ah,

1529
01:03:50,685 --> 01:03:52,465
You say that.

1530
01:03:58,375 --> 01:03:58,985
Beautiful.

1531
01:03:59,015 --> 01:04:01,465
Beautiful. So good. Man.

1532
01:04:01,465 --> 01:04:02,545
They, you know, when they use,

1533
01:04:02,545 --> 01:04:04,625
when they layer vocals now, it's a whole nother thing.

1534
01:04:04,665 --> 01:04:06,305
I don't, I don't want to get on, I don't want to go start.

1535
01:04:06,405 --> 01:04:08,185
Can I go yell at the clouds a little bit? Go ahead.

1536
01:04:08,185 --> 01:04:09,505
Can I put my tinfoil hat on? Do it.

1537
01:04:09,805 --> 01:04:14,705
Um, you know, there's, you know, like the, the breathing,

1538
01:04:15,005 --> 01:04:16,905
the, a little bit coming off at the end.

1539
01:04:17,055 --> 01:04:19,505
Yeah. Carol's trend when they're done,

1540
01:04:19,535 --> 01:04:21,185
like the imperfections, the imperfections,

1541
01:04:21,325 --> 01:04:22,545
the humanity, none of that's there anymore.

1542
01:04:22,705 --> 01:04:24,625
'cause it's all like, done perfectly

1543
01:04:24,735 --> 01:04:25,735
Chopped mead.

1544
01:04:25,935 --> 01:04:27,545
Yeah. Yeah. I know. Okay.

1545
01:04:27,545 --> 01:04:28,745
And, and then when you get in there,

1546
01:04:29,025 --> 01:04:30,185
it's so tempting to do that.

1547
01:04:30,185 --> 01:04:31,745
Right. 'cause you can, it's so easy.

1548
01:04:31,975 --> 01:04:33,545
Plus when you use public wifi,

1549
01:04:33,935 --> 01:04:35,705
they're stealing your passwords also.

1550
01:04:35,705 --> 01:04:37,825
Okay. Alright. Peter. Well I'm just saying

1551
01:04:38,025 --> 01:04:39,025
We're about to take a turn. About

1552
01:04:39,025 --> 01:04:43,185
to take a turn into the title track. Oh, tapestry. By

1553
01:04:43,185 --> 01:04:44,305
The way, do I have to listen to every track?

1554
01:04:44,495 --> 01:04:45,625
Yeah. Okay. By the

1555
01:04:45,625 --> 01:04:48,065
Way, when we were recording the intro to this episode

1556
01:04:48,365 --> 01:04:49,705
and we told Bob Debo Yeah.

1557
01:04:49,705 --> 01:04:51,425
Bass this extraordinaire. We were doing tapestry.

1558
01:04:51,425 --> 01:04:53,105
He was like, isn't it Tapestry? No,

1559
01:04:53,105 --> 01:04:54,505
He was kidding with it. He was messing with you.

1560
01:04:55,465 --> 01:04:57,585
I don't think he was The thing I love.

1561
01:04:57,585 --> 01:04:58,665
Well, there's two things at the

1562
01:04:58,665 --> 01:04:59,905
beginning and the end of the song.

1563
01:05:00,015 --> 01:05:02,065
This everything intro. Well, no, no, it's okay.

1564
01:05:02,065 --> 01:05:05,745
But the intro, this is just so like Stevie Wonder. Yeah.

1565
01:05:05,795 --> 01:05:07,745
Inner Visions. It's so much of the time.

1566
01:05:07,985 --> 01:05:09,145
I believe that when I fall in love

1567
01:05:09,335 --> 01:05:10,335
From Yeah. Life

1568
01:05:10,335 --> 01:05:10,335

1569
01:05:18,075 --> 01:05:21,605
Everlasting of the Ever,

1570
01:05:22,685 --> 01:05:23,965
I wanna hear Jack Black sing this

1571
01:05:23,965 --> 01:05:26,365
song. He would like make a

1572
01:05:26,365 --> 01:05:27,845
Real meal of it. Like a rock opera.

1573
01:05:28,025 --> 01:05:29,685
Oh my gosh. Or Led Zeppelin.

1574
01:05:29,795 --> 01:05:31,245
Like this would be a great Led Zeppelin song.

1575
01:05:35,025 --> 01:05:38,525
So, So far I understand it.

1576
01:05:44,765 --> 01:05:46,485
I Still kind of get it's getting a little more Eso tur

1577
01:05:51,195 --> 01:05:51,685
Drifter.

1578
01:05:52,115 --> 01:05:53,165
Like a hobar. I got it.

1579
01:05:53,935 --> 01:05:54,525
Can't say that.

1580
01:05:59,235 --> 01:06:04,005
Hide. I think I got it Yellow.

1581
01:06:06,105 --> 01:06:08,165
That's sort of sounds like a leprechaun, but I don't know.

1582
01:06:10,545 --> 01:06:12,965
How do you like modulations? I do not like them.

1583
01:06:13,505 --> 01:06:14,685
That's My equipment.

1584
01:06:16,845 --> 01:06:18,325
I mean, I like modulations. It's just weird.

1585
01:06:18,385 --> 01:06:20,085
All this There

1586
01:06:23,555 --> 01:06:26,225
Down to the key of sea, Of a major surge.

1587
01:06:26,935 --> 01:06:31,345
This is very early seventies. Like this is very puff.

1588
01:06:31,405 --> 01:06:33,225
The magic dragon. Peter Paul Mary,

1589
01:06:34,495 --> 01:06:36,945
Musical theater Killer.

1590
01:06:36,945 --> 01:06:39,585
Chord itself. Musical. Yeah.

1591
01:06:39,605 --> 01:06:42,665
So, Okay,

1592
01:06:42,965 --> 01:06:44,585
so let's talk about this. This is a weird song. I

1593
01:06:44,585 --> 01:06:45,585
Mean, it eventually gets turned into a

1594
01:06:45,585 --> 01:06:47,425
toad by a wizard I think. Yeah. I mean, it gets

1595
01:06:47,425 --> 01:06:49,105
Out rock and turned into its own.

1596
01:06:49,105 --> 01:06:51,185
It's, it gets weird. And I remember like,

1597
01:06:51,765 --> 01:06:54,145
so my take on this, this is not my favorite song on here,

1598
01:06:54,605 --> 01:06:56,145
but I, it's weird.

1599
01:06:56,145 --> 01:06:58,425
Like I don't necessarily skip over, like if I'm listening,

1600
01:06:58,545 --> 01:06:59,945
I think it's so brilliant.

1601
01:06:59,945 --> 01:07:01,585
This is the penultimate song on this album,

1602
01:07:01,765 --> 01:07:02,985
and it's on the second side.

1603
01:07:03,445 --> 01:07:05,185
And it's, it's a weird song,

1604
01:07:05,185 --> 01:07:07,985
but I feel like she's kind of set things up to be able

1605
01:07:07,985 --> 01:07:09,225
to literally do whatever she wants.

1606
01:07:09,315 --> 01:07:12,105
She's hit like all these like different grooves.

1607
01:07:12,415 --> 01:07:14,745
Love, friendship, human emotion,

1608
01:07:14,805 --> 01:07:17,145
but is so everything's so well crafted.

1609
01:07:17,245 --> 01:07:18,145
You wanna do this now? Or

1610
01:07:18,145 --> 01:07:19,225
should we save it for quibble bits?

1611
01:07:19,365 --> 01:07:21,345
No, let's do it now. Let's let's say Quibble Bits. Okay.

1612
01:07:21,475 --> 01:07:22,505
These are part of our category.

1613
01:07:22,505 --> 01:07:24,425
This is my quibble bit. I agree. Okay.

1614
01:07:24,775 --> 01:07:27,705
That, but I, I don't think,

1615
01:07:28,305 --> 01:07:30,505
I don't think anything is fair game.

1616
01:07:30,745 --> 01:07:33,825
I think to me this, um, every time it comes on I'm like,

1617
01:07:33,885 --> 01:07:36,985
that's weird because the whole album Peter is so personal

1618
01:07:36,985 --> 01:07:38,065
and organic and it's

1619
01:07:38,065 --> 01:07:39,745
so far away. And I feel the earth. This

1620
01:07:39,745 --> 01:07:40,545
Is weird. Yeah.

1621
01:07:40,615 --> 01:07:42,025
Organic, earthy. It's too,

1622
01:07:42,645 --> 01:07:43,545
Too organic. It's just weird,

1623
01:07:43,545 --> 01:07:45,345
Organic, personal, you know, beautiful.

1624
01:07:45,365 --> 01:07:46,825
You can do it girl. Like,

1625
01:07:46,825 --> 01:07:48,145
and then there's this about a wizard.

1626
01:07:48,175 --> 01:07:49,465
Turn a thing into a to I know.

1627
01:07:49,465 --> 01:07:51,665
It's all like an allegory for life and death and Yeah.

1628
01:07:51,925 --> 01:07:55,225
And aging and who knows. But I just, I you don't need it.

1629
01:07:55,345 --> 01:07:56,945
I don't think it's a bad song. I just think it's

1630
01:07:56,945 --> 01:07:58,625
on a wrong, the wrong album.

1631
01:07:58,635 --> 01:08:00,545
Which is ironic 'cause the album is tapestry.

1632
01:08:00,825 --> 01:08:02,105
So it just could be like,

1633
01:08:02,105 --> 01:08:03,665
You wanna take tapestry off Tapestry my friend?

1634
01:08:03,785 --> 01:08:06,505
I just, maybe I'm not not fully getting it. Yeah.

1635
01:08:06,545 --> 01:08:08,105
I don't think it's a bad song. I just, like I said,

1636
01:08:08,105 --> 01:08:09,825
it just kind of pulls me out of the sort of like

1637
01:08:10,495 --> 01:08:11,745
even smack water jack,

1638
01:08:11,745 --> 01:08:13,505
which is obviously like a, a tail. That's

1639
01:08:13,505 --> 01:08:15,105
Kind of weird, Right?

1640
01:08:15,115 --> 01:08:17,645
Yeah. But it is like a tapestry's, a tall tail too.

1641
01:08:17,655 --> 01:08:19,245
Smack water jack is like smoking the

1642
01:08:19,245 --> 01:08:21,645
Hobo becomes a Toads smack water Jack is like

1643
01:08:21,755 --> 01:08:22,845
smoking the bandit.

1644
01:08:22,845 --> 01:08:24,525
Right. It's a tall tail, but it's like a earthy,

1645
01:08:24,545 --> 01:08:27,125
folksy tail tapestry is like Lord of the Rings.

1646
01:08:27,125 --> 01:08:29,045
Right. There's flying huge eagles

1647
01:08:29,065 --> 01:08:30,245
and a coat of many colors

1648
01:08:30,265 --> 01:08:31,845
and a ring of power. I don't green

1649
01:08:31,845 --> 01:08:33,925
And a leprechaun with a hobo with a green and

1650
01:08:33,925 --> 01:08:34,925
Yellow. I would love

1651
01:08:34,925 --> 01:08:37,725
to have seen this on like, led Zeppelin four.

1652
01:08:37,965 --> 01:08:39,845
Right. Got it. It would've been amazing if they would've

1653
01:08:39,845 --> 01:08:41,405
recovered tapestry, I think.

1654
01:08:41,465 --> 01:08:43,845
And then like with a huge rock part in the end.

1655
01:08:43,925 --> 01:08:45,005
I think it would've been awesome. Yeah.

1656
01:08:45,235 --> 01:08:47,245
Cool. Alright, let, let's Move on. Uh, okay.

1657
01:08:47,245 --> 01:08:50,805
She ends with, you know, up to this point

1658
01:08:52,485 --> 01:08:53,765
probably her most iconic song

1659
01:08:53,825 --> 01:08:55,365
and maybe still her most iconic song.

1660
01:08:55,385 --> 01:08:57,285
But I, I would say that after this album

1661
01:08:57,285 --> 01:08:58,285
At this time, I Would think Yeah. At

1662
01:08:58,285 --> 01:08:59,885
this time for sure. But after this album,

1663
01:09:00,185 --> 01:09:01,405
she has her own iconic songs.

1664
01:09:01,405 --> 01:09:03,485
Like Oh yeah. Like She's Passed. You Make Feel.

1665
01:09:03,485 --> 01:09:05,485
Those are our iconic album. Yeah. She's passed the sort

1666
01:09:05,485 --> 01:09:07,125
of success Aretha had with you.

1667
01:09:07,125 --> 01:09:08,205
Make me feel like an I love that

1668
01:09:08,205 --> 01:09:09,325
She put this at the end of the record though.

1669
01:09:09,405 --> 01:09:10,445
I know That's so smart.

1670
01:09:11,875 --> 01:09:16,325
Looking out. This is an amazing version too.

1671
01:09:16,355 --> 01:09:18,485
It's it's Small. She's not trying to be Aretha.

1672
01:09:18,575 --> 01:09:20,205
She's not trying to go big. I used to feel,

1673
01:09:20,345 --> 01:09:21,445
How could you even try to sing this

1674
01:09:21,445 --> 01:09:23,325
after Aretha? Only she can get away

1675
01:09:23,325 --> 01:09:24,325
With this. She does it. I mean, it's

1676
01:09:24,325 --> 01:09:25,565
her song and she owns it.

1677
01:09:27,225 --> 01:09:29,165
She literally owns, and when I knew

1678
01:09:30,115 --> 01:09:33,765
Good for her, Well along with her ex-husband often,

1679
01:09:37,065 --> 01:09:38,085
and Jerry Wexler made

1680
01:09:38,085 --> 01:09:39,765
Me feel so Tired.

1681
01:09:40,185 --> 01:09:41,525
Ger Jerry Gere

1682
01:09:43,985 --> 01:09:46,045
Before The day I met you.

1683
01:09:47,585 --> 01:09:50,445
Oh, her voice Is, life was so unkind

1684
01:10:03,035 --> 01:10:05,885
That Every time she doesn't

1685
01:10:08,275 --> 01:10:09,525
Yeah. That walk on the end. But then these

1686
01:10:09,525 --> 01:10:12,765
Course, So simple

1687
01:10:12,765 --> 01:10:14,245
Again, those triads that move around,

1688
01:10:14,245 --> 01:10:15,445
those gospel triads move around.

1689
01:10:15,445 --> 01:10:16,445
Perfect.

1690
01:10:19,705 --> 01:10:21,045
And like she keeps the pulse going

1691
01:10:21,905 --> 01:10:23,645
And There's no drums.

1692
01:10:24,505 --> 01:10:27,085
Is this just, I believe it is.

1693
01:10:27,085 --> 01:10:28,445
He comes in, Larkey comes down on base. Oh

1694
01:10:28,445 --> 01:10:29,445
Yeah. There's a base on the choruses.

1695
01:10:29,445 --> 01:10:30,165
That's right. Yeah.

1696
01:10:30,165 --> 01:10:32,165
Which is very effective, very effective orchestration.

1697
01:10:32,515 --> 01:10:34,565
It's like the minimum viable orchestration.

1698
01:10:35,905 --> 01:10:38,205
But that's know, just, that's, that's this whole

1699
01:10:38,205 --> 01:10:39,205
Record. Yeah. Yeah.

1700
01:10:39,205 --> 01:10:39,435

1701
01:10:40,125 --> 01:10:41,245
I mean that's the, that's there's

1702
01:10:41,245 --> 01:10:43,045
Two pianos going on. You hear that there's a little

1703
01:10:43,045 --> 01:10:44,845
Bit over, but that is the cool thing when you go

1704
01:10:44,915 --> 01:10:45,925
smaller Yeah.

1705
01:10:46,145 --> 01:10:48,605
Is that everything becomes more important. Yes.

1706
01:10:48,605 --> 01:10:50,485
So like, when you want to have a little bit

1707
01:10:50,485 --> 01:10:52,165
of a lift on a chorus, add

1708
01:10:52,165 --> 01:10:53,445
A little Base, that's all you need,

1709
01:10:53,545 --> 01:10:56,125
You know, and then the dynamics are like amplified when

1710
01:10:56,125 --> 01:10:58,125
it's small, small dynamic changes.

1711
01:11:07,875 --> 01:11:08,875
Here it is again.

1712
01:11:16,285 --> 01:11:17,295
Feel Like

1713
01:11:19,515 --> 01:11:20,855
She almost goes reto there.

1714
01:11:20,855 --> 01:11:21,415
Kind of just

1715
01:11:29,355 --> 01:11:30,455
all the bridge. Yeah.

1716
01:11:30,805 --> 01:11:33,855
Suspend you courts. You

1717
01:11:34,485 --> 01:11:36,815
Make me feel So good

1718
01:11:38,395 --> 01:11:40,215
The way she's got the keys layered a little bit.

1719
01:11:40,365 --> 01:11:43,415
Very Stevie Wonder from this period, you know?

1720
01:12:00,685 --> 01:12:03,095
Amazing. Yeah. Great. The last track. Yeah.

1721
01:12:03,595 --> 01:12:07,055
And such a, uh, I mean this is,

1722
01:12:07,135 --> 01:12:08,255
I was, I was saying you've got a friend.

1723
01:12:08,255 --> 01:12:10,375
This is great too. I mean, it's, yeah.

1724
01:12:10,955 --> 01:12:12,415
So, uh, let's get to some categories.

1725
01:12:12,415 --> 01:12:13,935
Peter, what's your desert island? I'm

1726
01:12:13,935 --> 01:12:14,935
Gonna clap. Um,

1727
01:12:14,935 --> 01:12:16,055
I've got way over yonder.

1728
01:12:16,095 --> 01:12:17,935
I I've always loved that track. Ooh, good track.

1729
01:12:17,935 --> 01:12:19,495
I mean, I think that you've got a friend's,

1730
01:12:19,495 --> 01:12:21,615
maybe a greater song.

1731
01:12:21,615 --> 01:12:22,975
Like if, if if you held a gun in my head

1732
01:12:22,975 --> 01:12:25,255
and say what's the greatest song, I probably just yell out.

1733
01:12:25,315 --> 01:12:26,335
You've got a friend. I agree.

1734
01:12:26,435 --> 01:12:28,455
But where of yonder, I think like, to listen

1735
01:12:28,475 --> 01:12:29,655
to over and over again.

1736
01:12:29,765 --> 01:12:31,815
Like, like you've got a friend. I want all those versions.

1737
01:12:31,845 --> 01:12:33,255
Well that's the thing. When I think you've got a friend,

1738
01:12:33,335 --> 01:12:34,455
I think Donny and Roberta.

1739
01:12:34,455 --> 01:12:36,255
Yeah. Even though it's Carol's song. Yeah.

1740
01:12:36,645 --> 01:12:38,015
It's the Donny and Roberta version.

1741
01:12:38,045 --> 01:12:40,055
That to me is like the all timer. Yeah.

1742
01:12:40,355 --> 01:12:43,095
And so when I think of my deserts island for,

1743
01:12:43,195 --> 01:12:44,735
for this album, I think of so Far away.

1744
01:12:44,935 --> 01:12:45,975
'cause that is Carol.

1745
01:12:46,275 --> 01:12:47,375
It is King. Through

1746
01:12:47,375 --> 01:12:48,415
and through. You know what what I mean

1747
01:12:48,485 --> 01:12:50,055
Several million and all this.

1748
01:12:50,115 --> 01:12:53,055
Oh. This was sold like, I wanna say 40, 30 to 40 million.

1749
01:12:53,055 --> 01:12:54,935
This is a huge, like, can we sell?

1750
01:12:55,095 --> 01:12:56,775
I know we don't talk about numbers 'cause we're big jazz

1751
01:12:56,775 --> 01:12:58,135
guys and we don't care about numbers.

1752
01:12:58,235 --> 01:12:59,375
The less numbers the better. Yeah.

1753
01:12:59,375 --> 01:13:01,735
But isn't it nice when something great like a, we,

1754
01:13:01,735 --> 01:13:04,975
we talked about this with some of the Great Records concert.

1755
01:13:04,975 --> 01:13:07,135
It hits humanity. Yeah. It hits humanity in a way

1756
01:13:07,475 --> 01:13:09,695
that's actually rewarded with It's

1757
01:13:09,695 --> 01:13:10,695
Pretty great. Yeah. What about

1758
01:13:10,695 --> 01:13:11,695
Apex Moment? What do you got?

1759
01:13:12,475 --> 01:13:16,095
Um, so actually that's, so this is kind of a lyrics thing,

1760
01:13:16,095 --> 01:13:18,215
which I'm not always totally in tune with the lyrics.

1761
01:13:18,515 --> 01:13:19,855
I'm just, I'm always like music first.

1762
01:13:19,995 --> 01:13:22,095
But that's second verse that we just heard on, on Natural.

1763
01:13:22,315 --> 01:13:25,335
And when, when My Soul was in Lost and Found.

1764
01:13:25,915 --> 01:13:27,575
You come along to claim it.

1765
01:13:27,575 --> 01:13:30,295
Something about like, that's not her deepest line. Yeah.

1766
01:13:30,355 --> 01:13:32,495
But it's one of the just finely crafted,

1767
01:13:32,495 --> 01:13:33,655
like she's full of lines like

1768
01:13:33,655 --> 01:13:34,655
That. But that's, this is what I'm saying with

1769
01:13:34,655 --> 01:13:35,015
the music.

1770
01:13:35,035 --> 01:13:36,095
That's a little cultural line

1771
01:13:36,095 --> 01:13:38,015
that you might hear from like Jerome Kern

1772
01:13:38,195 --> 01:13:40,255
or Ira Gershwin or something like that. Yeah.

1773
01:13:40,255 --> 01:13:41,535
Irving Berlin. Irving Berlin. Yeah.

1774
01:13:41,635 --> 01:13:44,375
So I, my other, I have a little secondary Apex moment. Okay.

1775
01:13:44,375 --> 01:13:46,735
Which is actually on tapestry, ironically enough,

1776
01:13:46,795 --> 01:13:49,535
at the very end there's this great like suss chord.

1777
01:13:49,805 --> 01:13:52,815
It's so unexpected. I mean, yeah. It's a weird track. Yeah.

1778
01:13:52,815 --> 01:13:56,335
After the second, uh, modulation

1779
01:13:58,555 --> 01:14:00,855
Of Darkness,

1780
01:14:01,645 --> 01:14:03,935
I've seen him dress in black.

1781
01:14:04,285 --> 01:14:06,175
Yeah. This is all very typical

1782
01:14:07,685 --> 01:14:08,685
Rave.

1783
01:14:09,125 --> 01:14:10,125
He's

1784
01:14:11,065 --> 01:14:14,285
Me back This second time.

1785
01:14:14,385 --> 01:14:14,965
That's great.

1786
01:14:19,795 --> 01:14:21,405
It's a bit of a Joni Mitchell chord too, isn't it?

1787
01:14:21,405 --> 01:14:23,485
Very Jonie, very Joni. That's just, I, I don't know.

1788
01:14:23,545 --> 01:14:26,405
Is it the apex moment? It's a great moment. That's all. Ugh.

1789
01:14:26,835 --> 01:14:28,125
What, what you got for Apex?

1790
01:14:28,835 --> 01:14:31,325
I've got the first chorus of it's too late.

1791
01:14:31,555 --> 01:14:33,445
Like, so, you know, the,

1792
01:14:33,505 --> 01:14:35,925
the percussion on the first verse, first of all, it happens like,

1793
01:14:35,925 --> 01:14:37,165
So like 20 seconds into the two. Yeah. It

1794
01:14:37,165 --> 01:14:38,325
Happens like the 28 second mark.

1795
01:14:38,645 --> 01:14:41,205
I think it's one of the great moments in the 1970s,

1796
01:14:41,205 --> 01:14:42,365
especially the early seventies.

1797
01:14:42,365 --> 01:14:45,205
Mm-hmm. Like the drums do this little soul fill basically.

1798
01:14:45,465 --> 01:14:46,765
Killer. And uh,

1799
01:14:46,985 --> 01:14:48,485
and they come in with

1800
01:14:48,485 --> 01:14:49,685
that lift that we already talked about.

1801
01:14:49,685 --> 01:14:50,845
Yeah. Right. They're on that pivot chord.

1802
01:14:50,845 --> 01:14:54,245
That f and that rhythm. And there's the lift

1803
01:14:54,545 --> 01:14:55,805
of the new, oh, sorry.

1804
01:14:56,255 --> 01:14:57,255
Maybe We Just,

1805
01:14:57,255 --> 01:14:58,115
You right. You're

1806
01:14:58,115 --> 01:14:59,445
not wrong. It's so good. Right here.

1807
01:15:06,225 --> 01:15:09,285
Too late. That's like, like all the hands,

1808
01:15:09,385 --> 01:15:10,565
all the mom hands go up

1809
01:15:11,345 --> 01:15:12,525
And the damp Pauls white

1810
01:15:12,535 --> 01:15:14,045
Wines spilling around the minivan. It's gonna be

1811
01:15:14,045 --> 01:15:15,045
Great. White Zil flying.

1812
01:15:15,045 --> 01:15:16,245
No, that's a great moment.

1813
01:15:16,385 --> 01:15:18,285
Is it the, is it the it's the whole thing.

1814
01:15:18,285 --> 01:15:19,405
Is it the drum fill? I mean,

1815
01:15:19,405 --> 01:15:21,445
without the drum fill it, it's just 'cause it's so

1816
01:15:21,445 --> 01:15:22,445
Early. So it's, it's all

1817
01:15:22,445 --> 01:15:23,125
of it. Yeah.

1818
01:15:23,125 --> 01:15:25,085
First of all, we, we haven't heard the drums

1819
01:15:25,085 --> 01:15:26,325
yet in that track.

1820
01:15:26,325 --> 01:15:28,285
Right. And then you hear that early seventies kick drum.

1821
01:15:28,285 --> 01:15:29,405
You hear that bell of the ride.

1822
01:15:29,405 --> 01:15:30,925
You hear the roads with that little boo.

1823
01:15:31,795 --> 01:15:33,605
Yeah. You know what I mean? So good. Great.

1824
01:15:33,705 --> 01:15:35,725
Uh, bespoke playlist title. What do you got?

1825
01:15:35,795 --> 01:15:39,045
Well, you just mentioned, uh, moms in a car perhaps.

1826
01:15:39,265 --> 01:15:40,365
So I'm gonna try to tie this together.

1827
01:15:40,365 --> 01:15:41,445
I've got, this is a weird one.

1828
01:15:41,685 --> 01:15:42,965
I went a little urban on this. I

1829
01:15:42,975 --> 01:15:44,125
Don't think I can say this one.

1830
01:15:44,915 --> 01:15:47,805
Play dis DIS in carpool.

1831
01:15:48,395 --> 01:15:51,565
Carpool to nurture yo kids. Okay.

1832
01:15:52,715 --> 01:15:55,205
Play dis in Carpool to nurture Yo Kids.

1833
01:15:55,405 --> 01:15:57,485
I mean, I've already read it, but it's still funny.

1834
01:15:57,585 --> 01:15:58,645
And I don't know why you did

1835
01:15:58,645 --> 01:15:59,645
This. I like, because by the

1836
01:15:59,645 --> 01:16:00,845
time we get to the, of the episode,

1837
01:16:00,875 --> 01:16:02,765
anybody who sticks around needs to be rewarded.

1838
01:16:02,865 --> 01:16:04,125
Why diss? No diss.

1839
01:16:04,225 --> 01:16:07,085
You gotta play this, play this, the reason I do this. Okay.

1840
01:16:07,085 --> 01:16:09,245
Kelly Martin, the wonderful, the amazing, the beautiful.

1841
01:16:09,945 --> 01:16:11,805
So she, this is her favorite record.

1842
01:16:11,865 --> 01:16:13,125
We didn't even mention that. My wife,

1843
01:16:13,195 --> 01:16:15,605
like she loves this is her album here.

1844
01:16:15,785 --> 01:16:17,125
In fact, she wouldn't let me bring the

1845
01:16:17,125 --> 01:16:18,525
actual, I was like, I'm taking this.

1846
01:16:18,525 --> 01:16:20,485
She's like, you and Adam gonna do something?

1847
01:16:20,565 --> 01:16:21,605
I was like, yeah, we're gonna do an episode.

1848
01:16:22,065 --> 01:16:23,685
She, the, the LPs sitting on our

1849
01:16:23,685 --> 01:16:24,845
turntable at home right now.

1850
01:16:25,265 --> 01:16:27,325
But she played this for our kids a lot.

1851
01:16:27,425 --> 01:16:28,765
And when we were carpooling they were

1852
01:16:28,765 --> 01:16:29,885
in, when we moved back to St.

1853
01:16:29,885 --> 01:16:31,885
Louis from New Orleans, we were carpooling for a while.

1854
01:16:31,885 --> 01:16:34,005
So all the other kids got exposed to this.

1855
01:16:34,005 --> 01:16:35,565
She played this on nonstop on CD in the

1856
01:16:35,585 --> 01:16:36,585
Car. It's like all the kids at New

1857
01:16:36,585 --> 01:16:37,605
City School know. Yes.

1858
01:16:37,605 --> 01:16:38,725
Tapestry like by heart.

1859
01:16:38,725 --> 01:16:40,325
Yeah. Yeah. So, but this is the thing

1860
01:16:40,465 --> 01:16:41,805
that's nurturing your kids.

1861
01:16:41,805 --> 01:16:43,765
Yeah, it is. You know what I mean? It's like songwriting,

1862
01:16:43,765 --> 01:16:47,365
singing soul, um, humanity. Yeah. So great.

1863
01:16:47,645 --> 01:16:49,925
I have, I have on, on my mom rock and just

1864
01:16:49,925 --> 01:16:51,165
because this was my mom's,

1865
01:16:51,165 --> 01:16:52,205
one of my mom's favorite albums. This

1866
01:16:52,205 --> 01:16:53,205
Mom rock Or just mom? Just mom

1867
01:16:53,205 --> 01:16:54,205
Rock. Okay. This is my one

1868
01:16:54,205 --> 01:16:56,405
of Deborah Man's favorite albums of all time.

1869
01:16:56,405 --> 01:16:58,045
That's awesome. I grew up listening to it.

1870
01:16:58,045 --> 01:16:59,725
So couple bits we already talked about. What about

1871
01:16:59,725 --> 01:17:00,645
Heather? Does she like this record?

1872
01:17:01,025 --> 01:17:04,085
You know, uh, I think she likes it, but she's too young.

1873
01:17:04,085 --> 01:17:06,805
More of like a credence Clearwater revival from this era.

1874
01:17:06,805 --> 01:17:07,965
Okay. She likes that kind of stuff.

1875
01:17:08,265 --> 01:17:09,845
Can it be Both? It can be both, for sure.

1876
01:17:09,945 --> 01:17:12,005
No, she likes it, but it's not, it's not her jam as much.

1877
01:17:12,425 --> 01:17:14,125
Uh, quibble bits we already took care of. Yep.

1878
01:17:14,155 --> 01:17:15,365
What about sbo? What do you got?

1879
01:17:15,435 --> 01:17:17,965
Well, I'm just, I'm gonna go four.

1880
01:17:18,065 --> 01:17:20,205
Oh, why not five? Well, I was thinking of five,

1881
01:17:20,205 --> 01:17:21,325
but you tease me when I go five.

1882
01:17:21,685 --> 01:17:23,985
I don't, I mean, well,

1883
01:17:23,985 --> 01:17:25,545
you go first and then I'll explain mine. I have two

1884
01:17:25,545 --> 01:17:26,665
Because I Why Not one?

1885
01:17:27,455 --> 01:17:30,225
Well, I don't know. I mean, it could be a one.

1886
01:17:30,225 --> 01:17:31,425
It's sold 40 million copies.

1887
01:17:31,745 --> 01:17:33,585
Like, it is, it is not snobby at all.

1888
01:17:33,605 --> 01:17:35,185
It is very accessible to everybody.

1889
01:17:35,885 --> 01:17:37,865
But it is a little bit like, if

1890
01:17:37,865 --> 01:17:38,985
You're not of, of right.

1891
01:17:38,985 --> 01:17:40,585
Of this period and you're into this record,

1892
01:17:40,695 --> 01:17:41,945
it's a little snobby maybe.

1893
01:17:42,895 --> 01:17:44,305
Like, if you're not in the chord.

1894
01:17:44,665 --> 01:17:45,945
I mean, this record came out when I was born,

1895
01:17:46,005 --> 01:17:47,705
so Yeah. It's not exactly in,

1896
01:17:48,065 --> 01:17:49,065
I don't know. I I don't think it's

1897
01:17:49,065 --> 01:17:49,905
very snobby at all.

1898
01:17:49,945 --> 01:17:51,505
I think it's a two, but there it is a two.

1899
01:17:51,505 --> 01:17:52,585
It's not quite a one. It is

1900
01:17:52,585 --> 01:17:53,585
A two. I'm doing four 'cause

1901
01:17:53,585 --> 01:17:54,625
I think it's a great record. Okay.

1902
01:17:54,735 --> 01:17:57,265
Okay. Is it better than Stevie Wonder's revisions?

1903
01:17:58,305 --> 01:18:00,065
I got a controversial. It's our next category.

1904
01:18:00,065 --> 01:18:01,385
I've got a controversial So you go first.

1905
01:18:02,245 --> 01:18:03,305
No, it is not. Okay.

1906
01:18:03,965 --> 01:18:06,545
I'm going equal and I rarely do that.

1907
01:18:06,705 --> 01:18:07,705
I might've done that before,

1908
01:18:07,765 --> 01:18:11,305
but I really like if you were to say which is better,

1909
01:18:11,665 --> 01:18:14,185
I think that they're both 90 nines out of a hundred.

1910
01:18:14,335 --> 01:18:15,425
Yeah. I mean, you know what I mean?

1911
01:18:15,425 --> 01:18:17,305
Like, I, I really think they're different now.

1912
01:18:17,305 --> 01:18:18,945
Maybe if I was, if I had

1913
01:18:18,945 --> 01:18:20,345
to only grab one on the Desert Island,

1914
01:18:20,705 --> 01:18:21,705
probably be inner visions.

1915
01:18:22,085 --> 01:18:26,145
But I, I think that like, just in terms of quality craft

1916
01:18:27,005 --> 01:18:29,625
and beauty and just well done.

1917
01:18:29,745 --> 01:18:30,745
I, I just feel like they're

1918
01:18:30,745 --> 01:18:31,745
Equal. I'm not gonna argue.

1919
01:18:31,745 --> 01:18:35,385
I, I, for me it's like the ste us

1920
01:18:35,385 --> 01:18:38,105
of it all on Innervisions. Yeah. Lifts it.

1921
01:18:38,695 --> 01:18:39,945
Well, it's the careness of it all.

1922
01:18:39,945 --> 01:18:41,265
I, I know. I know, I know.

1923
01:18:41,325 --> 01:18:43,985
And and also it's like it is a fool's errand to like Yeah.

1924
01:18:44,245 --> 01:18:45,345
Pit art against each other.

1925
01:18:45,365 --> 01:18:47,145
But, you know, we gotta keep to the categories. Peter.

1926
01:18:47,205 --> 01:18:49,505
We can't, we have no power over changing these, so. Well,

1927
01:18:49,505 --> 01:18:50,145
That's why I said equal

1928
01:18:50,145 --> 01:18:51,705
Accoutrements. Scale of one to 10, what do

1929
01:18:51,705 --> 01:18:52,705
You, oh, 10 for sure.

1930
01:18:52,705 --> 01:18:54,865
I don't think I've You 10 too. Yeah, 10. Yeah.

1931
01:18:54,905 --> 01:18:56,705
I don't think, have we ever had dual tens? No,

1932
01:18:56,785 --> 01:18:57,785
I don't think so. We should.

1933
01:18:57,785 --> 01:18:59,345
I mean, it's a perfect album cover,

1934
01:18:59,455 --> 01:19:00,945
like the way it sounds.

1935
01:19:01,165 --> 01:19:02,865
We, we've talked about organic, earthy.

1936
01:19:02,865 --> 01:19:04,585
It's like her sitting around, she's barefoot.

1937
01:19:04,585 --> 01:19:06,625
There's a cat, there's sunlight coming on.

1938
01:19:06,625 --> 01:19:09,745
Half of her like faces in shadow, half of it in sunlight.

1939
01:19:09,915 --> 01:19:11,025
Shout out Jim McCrary.

1940
01:19:11,245 --> 01:19:12,465
The photographer hair is like, yeah,

1941
01:19:12,465 --> 01:19:13,825
Jim McCreery, McCreery crushed this one.

1942
01:19:13,825 --> 01:19:16,025
Yeah, there's like a, the, the, the font

1943
01:19:16,025 --> 01:19:17,305
and the color of the font

1944
01:19:17,405 --> 01:19:20,745
and then the, the sort of like tapestry esque curtains and

1945
01:19:20,745 --> 01:19:22,905
The look on her, I mean, oh, it's incredible. Her

1946
01:19:22,905 --> 01:19:24,265
Expression and then the, the inside cover.

1947
01:19:24,265 --> 01:19:26,105
Right? Yeah. It great. With a, a tapestry.

1948
01:19:26,105 --> 01:19:27,945
Literally like unraveling Yeah.

1949
01:19:28,285 --> 01:19:30,825
And pictures of the session that happened

1950
01:19:30,885 --> 01:19:32,585
and then the back with all the lyrics right.

1951
01:19:32,585 --> 01:19:33,785
In the back, back. Every single lyric. Can't do

1952
01:19:33,785 --> 01:19:36,145
that on a Spotify track listing.

1953
01:19:36,255 --> 01:19:38,385
Yeah. Uh, it's really, really, really good.

1954
01:19:38,385 --> 01:19:40,065
Yeah. And I just wanna say I got a chance

1955
01:19:40,325 --> 01:19:41,705
to meet Carole King one time.

1956
01:19:41,835 --> 01:19:44,825
She's one of the, at least in my interaction with her, um,

1957
01:19:45,065 --> 01:19:46,945
I, I was actually playing at a private event

1958
01:19:47,165 --> 01:19:49,385
and I had no idea she was there.

1959
01:19:49,605 --> 01:19:50,905
And she came up to me afterwards

1960
01:19:50,965 --> 01:19:52,905
and was like, I was, I was accompanying Diane Reeves.

1961
01:19:52,965 --> 01:19:54,425
We played a couple songs. She came up to me

1962
01:19:54,425 --> 01:19:56,145
and was like, I really enjoyed you.

1963
01:19:56,145 --> 01:19:57,665
You're playing. I loved your voicing.

1964
01:19:57,725 --> 01:19:59,145
She said like a little something like that where

1965
01:19:59,215 --> 01:20:00,545
Like, she's a musician. Yeah, yeah.

1966
01:20:00,545 --> 01:20:01,705
And like for some reason I,

1967
01:20:01,745 --> 01:20:03,385
I didn't realize at first I was like, of

1968
01:20:03,385 --> 01:20:04,385
Could be Carol of Context. Yeah. Carole King.

1969
01:20:04,385 --> 01:20:06,025
Like I know. Is that Carole King?

1970
01:20:06,025 --> 01:20:08,005
Yeah. But no, I was just kind of like, it couldn't be,

1971
01:20:08,005 --> 01:20:09,725
this was a event for the LA Philharmonic.

1972
01:20:09,805 --> 01:20:10,805
I didn't realize she's actually

1973
01:20:10,805 --> 01:20:12,045
super involved with the Oh, cool.

1974
01:20:12,045 --> 01:20:13,765
Philanthropy with the LA Phil and stuff.

1975
01:20:13,945 --> 01:20:15,685
But she, we, we chatted for a minute

1976
01:20:15,745 --> 01:20:18,725
and it was an honor, an honor to meet her

1977
01:20:18,725 --> 01:20:20,125
and just to, to be in her orbit for a minute.

1978
01:20:20,125 --> 01:20:21,845
Yeah. I mean, by all accounts, she's a, she's a gem. Yeah.

1979
01:20:22,025 --> 01:20:23,485
Uh, okay. What do you got up next?

1980
01:20:23,505 --> 01:20:24,925
If there was an auto play feature,

1981
01:20:24,925 --> 01:20:26,125
what's up next after the song?

1982
01:20:26,125 --> 01:20:27,565
Well, I got lazy on this one. I've been listening

1983
01:20:27,565 --> 01:20:28,845
to this record recently so much.

1984
01:20:29,045 --> 01:20:31,565
I know it so well. But, um, when I was listening

1985
01:20:31,565 --> 01:20:35,045
to it in the car on Spotify, uh, As from Songss in the Key

1986
01:20:35,105 --> 01:20:36,965
of Life kind of came up sort of randomly.

1987
01:20:36,985 --> 01:20:38,165
And man, it flowed nicely.

1988
01:20:38,465 --> 01:20:39,685
So I know that's not the Inner Visions

1989
01:20:39,685 --> 01:20:41,045
and that's jumping a few years later. No,

1990
01:20:41,045 --> 01:20:41,485
I can see that. I can see

1991
01:20:41,485 --> 01:20:42,485
That. But it worked Nice. What you got for

1992
01:20:42,485 --> 01:20:42,725
up

1993
01:20:42,725 --> 01:20:43,725
Next? I also have kind of a

1994
01:20:43,725 --> 01:20:44,325
lazy pick,

1995
01:20:44,325 --> 01:20:46,165
which is Joni Mitchell's Court and Spark. Oh

1996
01:20:46,165 --> 01:20:47,165
Wow. That's totally

1997
01:20:47,165 --> 01:20:47,845
out of the blue.

1998
01:20:47,865 --> 01:20:48,885
You didn't wanna choose Blue?

1999
01:20:49,625 --> 01:20:50,925
No, but I mean, I think it was

2000
01:20:50,925 --> 01:20:52,445
Made in the studio next door at the same time.

2001
01:20:52,555 --> 01:20:54,405
Yeah. I honestly think Court and Spark is a little more

2002
01:20:54,405 --> 01:20:55,645
of this vibe with the roads

2003
01:20:55,985 --> 01:20:57,885
and it's a little more produced than this is.

2004
01:20:58,055 --> 01:21:00,045
Right. But songwriting wise, it's kind of the,

2005
01:21:00,225 --> 01:21:01,725
the yin to this yang. Yeah.

2006
01:21:01,835 --> 01:21:03,405
That would be a great, that would be a cozy

2007
01:21:03,405 --> 01:21:04,685
evening to go from this to that.

2008
01:21:04,795 --> 01:21:06,765
Yeah. Hey, there's a link Peter, by the way,

2009
01:21:06,785 --> 01:21:07,805
in our description.

2010
01:21:07,805 --> 01:21:09,325
So you can sign up to our newsletter,

2011
01:21:09,325 --> 01:21:10,765
which is called, you'll read it.

2012
01:21:10,905 --> 01:21:13,245
You'll read It in which we send you fun little things

2013
01:21:13,245 --> 01:21:14,885
about like, behind the scenes at the pod.

2014
01:21:14,885 --> 01:21:15,925
That's little musical things

2015
01:21:15,925 --> 01:21:17,005
that we talk about here on We call

2016
01:21:17,155 --> 01:21:18,155
Call a Newsletter. Yeah, it's

2017
01:21:18,155 --> 01:21:19,285
a newsletter. Yeah. You'll

2018
01:21:19,285 --> 01:21:20,285
Read It. Yeah. And

2019
01:21:20,285 --> 01:21:23,045
um, hey, it's a new season. It's

2020
01:21:23,045 --> 01:21:24,885
A new season, new se. No, same set up. Same

2021
01:21:24,885 --> 01:21:25,685
Set. New season.

2022
01:21:26,355 --> 01:21:27,645
It's exciting man. We got some good.

2023
01:21:27,665 --> 01:21:28,725
Do we want to, do we want

2024
01:21:28,725 --> 01:21:30,325
to just hint out a little bit of what we have coming.

2025
01:21:31,095 --> 01:21:32,765
There might be some Michael Jackson. Mm.

2026
01:21:32,855 --> 01:21:34,165
There might be some Joni Mitchell.

2027
01:21:34,465 --> 01:21:37,365
We may finally be covering a certain band

2028
01:21:37,425 --> 01:21:38,485
out of Liverpool.

2029
01:21:39,075 --> 01:21:41,485
Good day. Nope, they don't talk like that. We're not doing

2030
01:21:41,485 --> 01:21:42,485
Any of that. Liverpool, England?

2031
01:21:42,485 --> 01:21:42,965
Nope,

2032
01:21:42,965 --> 01:21:44,245
we're not doing that. We're not?

2033
01:21:44,425 --> 01:21:45,605
No. Okay. We're not covering

2034
01:21:45,605 --> 01:21:46,605
That. We're not doing that.

2035
01:21:46,605 --> 01:21:47,125
Um,

2036
01:21:48,185 --> 01:21:50,845
but we might cover a band outta London actually.

2037
01:21:52,475 --> 01:21:54,085
Okay. Well Right behind me there.

2038
01:21:54,505 --> 01:21:56,085
Um, we might do some Thelonious

2039
01:21:56,085 --> 01:21:57,325
Monk, we might do some Miles Davis.

2040
01:21:57,325 --> 01:21:58,765
There's gonna be some good stuff. Well,

2041
01:21:58,765 --> 01:22:00,205
Thises we're definitely doing, because we did

2042
01:22:00,205 --> 01:22:01,125
It already. Already did it. Yeah.

2043
01:22:01,395 --> 01:22:02,685
Well, till next time you'll hear it.