Now here and the song calls for it obviously but the, the whole mood changes. There's no back beat. I mean this is a total departure now from what was happening musically in that era. And you think Phil didn't have misgivings over that? He would sit there saying, I can't get away with this. And we'd say, but it's terrific.

About this, this point in the, in the record, you have to understand back then you didn't change attitudes in records like this. There was no back beat. Phil is saying, I don't think I can get away with this. I don't think they'll buy it. He knew that's how the record had to be. That's what it called for. But he had serious misgivings about this putting out a record doing that. But then everybody that heard it loved it, was floored by it. So we finally convinced him that, that it was going to work. [music continues]. And of course to have the record running this long was, ah, was really something he was frightened about 'cause records were two and a half minutes only at that point in time. And if you ran anything longer you, you had a serious challenge from disc jockeys who had their time apportioned. And, and I know a lot of disc jockeys fought this record and it just overwhelmed and the people who loved the music, loved the music. It created a, it made them accept the music regardless of, ah, of how they felt about it lengthwise.

This record sounds so much better to me now than it did at the time because we were into creating all of the stuff. And at that point in time it felt like Phil was trying to reach than we would allow, the technology would allow him to go and I, and I felt I wasn't getting everything that he wanted or needed. But I listen to it now and it's, God, it's really lovely. [music continues]. Tina was sensational. She threw herself into this totally. She didn't have to be coached. I don't think Phil said two words to her on, on how to approach this song. Ah, she, it was like she was doing a show. She was just remarkable, we were mesmerized as we watched her move in the studio. [music continues]. Well it, it's inconceivable even now listening to it that this record could have been made in a studio the size we were recording in. I mean that studio is nothing like it sounds and I, I can't believe it now that that lovely sound came out of that small studio. [music]. And to remember that in this studio the only thing that we over dubbed here are the strings and the voices, everything else was done live altogether in a room 22x32 with a 14 foot ceiling - it's incredible, incredible, I mean that's just incredible. I love it now more than I ever have.

Now this studio is just about the same size as Gold Star was then, which doesn't exist any more. And the big problem we had was trying to figure out where we were going to sit everybody. I never knew till the end precisely how many people we were going to have. But basically it was going to consist of maybe four or five guitars and three pianos. We were going to have three bases, percussion, I didn't know because any guests that came in were going to end up playing something maracas, tambourines. Drums we had one set at the end we had two then we had horns. And to fit everybody in was a physical problem but it made the sound great. And when these started playing we had a Wall of Sound.

Now this studio is just about the same size as Gold Star was. Gold Star doesn't exist any more but this is about it. And the big problem I had was trying to figure out how to we were going to get everybody in. I never till the end for sure how many people there were going to be although I knew we were going to have about, ah, five guitars. We were going to have three pianos. We were going to have three basses. We're going to have, I don't know how many percussion because the, any guests that showed up were going to end up playing something. They were going to end up either playing maracas or tambourines or whatever and they loved it. We had drums one set and then at the end we had two sets. And horns over here, boy we had some horns. And to get all these people in and make the sound work was nervous stomach time. But when they all played and it all worked, boy, it was a Wall of Sound.

Good.

I didn't mean to look in the camera, I'm sorry. I'm supposed to be looking at you.

Now this studio is just about the size that Gold Star was and, ah, the big problem I had there was figuring how to get everybody in: we would have something like five guitars, could expand to six, maybe as few as four; pianos, we were going to have three pianos generally and ah, three basses and percussion, I was never sure how much percussion we were going to have because any guests that came by were going to end up playing instrument, maracas, tambourine, whatever. Phil was going to fill us up. Drums we would have sometimes two sets at the end and, ah, horns there were maybe six horns that were involved in it. Everybody was playing together now, we didn't do these separate tracks. And they were beautiful. And it was probably something in the, we would end up with something between 23 and 27 or 30 people, all playing and creating this Wall of Sound.

This studio is just about the same size as Gold Star was and the problem I had then was trying to figure out how I was going to get everybody in. Usually I had five guitars, sometimes six or seven, three pianos were standard, three basses were standard - percussion, I don't know, any guests that came in were going to end up playing. We'd have guys, famous artists and they'd end up playing tambourine or maracas, one drum at the end it was two drummers and, ah, horns, five to seven or eight horns, all going at once and if we had room, we always made room for them. It ended up being between 25 and 30 guys. And there was a lovely Wall of Sound.