Peter Ames Carlin

And Bruce, being a very sensitive young person, experienced his dad's distance as kind of a dismissal, a sort of an existential rejection by his father.

And so the prospect of learning how to drive with his son.

short-tempered and angry father didn't appeal to him, so he stuck with his guitars.

And finally, when he was about 22 or 23, he was more or less forced to learn how to drive in order to help drive this band to the West Coast.

Bruce definitely preferred this recording live in the studio thing because they were such a successful and powerful live band.

The problem with the early records was that they were working in a studio that was less sophisticated than the ones in New York City.

And when they realized how they needed to transform Bruce's sound and get that power onto the vinyl, they decided to start working in a more traditional studio fashion where you record the basic rhythm track with guitar, bass, drums, piano.

And then layer everything else instrument by instrument by instrument.

So you have more control over, you know, how the different tracks come together.

And you can build a fuller, richer, more powerful and ironically live sounding record the further away you get from the traditional live setup in the studio.

With the sadness I love you With all the madness

I don't know when we're going to get to that place where we really want to go.

Yeah, sure.

But they were also just trying every single thing they could think of, you know, and so they and it took them six months to record that song because it was like, let's see.

How about strings?

And then there you have that whole arrangement.

And then it's like, how about a whole huge choir of women, you know, singing along and they'd give it a try and then they'd listen and they would sort of go and then they toss it and start again.

I think because it was such an existential moment for Bruce, it was like if this didn't work, he was done.

And if he was done, who was he?

What was he?