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I think what happens with something like Dreams, the idea of writing it in Sly Stone's studio, black velvet bed, and curtains you could 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 together quickly?
John: 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.
Mick: That comes from years of playing the way we played certainly a blues background, where you listen intently to what the vocal is doing.
John: 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.
Stevie: In the 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 G.
Lindsey: 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.
Stevie: 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.



Never Going Back Again Don't Stop
Go Your Own Way Silver Springs
The Chain You Make Loving Fun
I Don't Want To Know Oh Daddy
Gold Dust Woman Songbird


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