what happens with something like Dreams, the idea of writing it in Sly
Stone's studio, black velvet bed, and curtains you could pull...it just
flowed out. It was written in about 5 minutes and I recorded it on a
little cassette that way I wouldn't be nervous about playing it for the
band. Everybody really liked it and we recorded it right away.
| Ken Caillat:
||When you guys
were working on those bass and drum parts, do you remember this coming
||Most of the
bass parts were pretty much as they first came out of the shoe. There
might've been one or two exceptions I think I butted heads with Lindsey on
one of them (laughs) but most of them were pretty much as they came out.
from years of playing the way we played certainly a blues background,
where you listen intently to what the vocal is doing.
||Make it simple
as possible give it a lot of air and space. It allows the rest of the song
to have sort of an ethereal quality.
beginning there wasn't a piano, and I wrote all my songs on guitar. I took
lessons when I was 16, when I took lessons, just a few lessons©that©s all
I wrote on then. On the piano I can noozle myself into chords, even though
I don't have any idea what I'm doing. But still, they aren't just C, F and
||Dreams was an
interesting outcome for something which didn©t have a lot of variety in
terms of it's chord structures, but tons of variety in terms of it's
melodic left and right turns. There were 3 distinct sections that really
were the key. There is no drama without contrast, and we made the contrast
out of all that,, and it was a lot of fun.
||That was one
of the few songs that I just played and everyone went 'Oh yeah!' and liked
it. You know Dreams was a gift.