| Lindsey: |
I think
it was a really an interesting collaboration of forces. It started off
as a song of Christine's called "Keep Me There" and much of that
did not end up being the song. We had the tag ending to the song. |
| Mick: |
Lindsey ran
with whatever Chris had formulated and then basically ended up hitting a
brick wall. And it felt like the whole thing was just never gonna work.
They all got this revelation, and suddenly it just made sense, like a
jigsaw puzzle. |
| Lindsey: |
I came in one
day, and said why don't we just remove the verses? And we can do some
sort of measurement of what the tape is, and do a reverse count back
from there to create a metronome to play to, and once we have the blank
tape in we can figure out what we want to put in there! Mick or I laid
down the kick drum that gave us a start point. Eventually I started
fooling with the dobro and that became the foundation for what was
written over that. The 3 part harmony of listen to the wind blow was a
collaboration of the three writers. |
| Christine: |
I remember
Stevie, Lindsey and myself sitting in my den and doing the 3 parts.
Lindsey with his guitar and trying to figure out the chords things to go
underneath the vocals. |
| Stevie: |
I had written
another song. The whole "running in the shadows" tthing. And Lindsey
said can we use this? So of course I said yes, so it was funny that I
had that melody and those words or it never would've happened. |
| Mick: |
Lindsey is
more prone to see different pieces of things. Not only in his own
songwriting, but in the girls' songwriting and picking parts out |
| Lindsey: |
We were able
to think of tape as a very plastic, cinematic and abstract way. Just to
come up with pieces of music we could treat as pieces of film, and we
came up with something that was truly a communal effort. |
| Stevie: |
I remember
that great solo of John's (hums the bass solo) and it was like the
monsters are coming! And we all loved that. |
| John: |
That was an
Olympic fretless bass on a stainless fretboard with a pick. And I was
just messin about in the studio and I just played the riff. Chris said, Oh! I like that!, So we kept it in. If I had my way, I would've
brought the band in a little earlier on the ending it tends to stand
out and look a little lonely out there, but it seems to work. |
| Mick: |
You can't
change it now John, you'd break too many people©s hearts! (laughs) |
| Christine: |
I guess we
must've just loved that bass part so much to do something with it. And
Lindsey raved and put that guitar solo on it. |
| Mick: |
It's one of
the best examples of how things can work from a different point of view.
The collaboration of the band brought it back to the shape it©s now
in. It's one of those songs that could've ended up in the dust bin,
and it didn't. |
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