Headquarters Sessions (2000)

Micky: Uh, same way, right? Straight, right off the top.
?: Take one, “She’s So Far Out She’s… In”.
?: That’s maracas.
Peter: Oh, it’s Davy’s, Davy’s instrument. Let me play the bass on this.
Micky: That’s right. Why don’t we…
Peter: No, man, cool the roll.
?: Okay.
Peter: Cool the roll, cool the roll.
Micky: Cool the roll. Roll.
?: Rolling?
?: “She’s So Far Out She’s In”, take one.

[instrumental]
Well, she’s so far out…
[instrumental]

?: Hold on, hold on, hang on. Get a sound first.
Micky: Oh, no, just get a take.
?: You want a take, or a sound?
Micky: A take! Just—
?: Well, let’s get both.
Peter: Let’s get a take.
?: A take and a sound, here we go. “She’s So Far Out She’s In”, and… take two.
Mike: One, two, three.

[instrumental]

?: Uh, Peter, something’s happening with the bass that, you hear an occasional note come through now and then, that’s about all. Uh, well, you come in and listen—

[short instrumental excerpt from “The Girl I Knew Somewhere”]

?: One more start. Hang on, hang on, this is, uh, “The Girl I Knew Somewhere”, take one, alright?

[short instrumental excerpt from “The Girl I Knew Somewhere”]

?: Two.
?: Yeah, you used to do it, uh, with not quite as long a break in it.
Mike: Why don’t we change it?
?: Okay, cool.
Peter: Take it from that C minor section [???].
?: Three.
Peter: No!
Mike: No, we’re, we’re reversing.
Peter: Not roll, stop the roll.
Mike: Hold the roll.
?: We shall. This is uh, three.
Peter: Are we rolling?
Mike: One, two, one two three.

[instrumental excerpt from “The Girl I Knew Somewhere”]

?: Let’s do one more, let’s do one more. It was very rough getting into it.
Peter: Umm… aren’t you gonna come back into the second verse with the same way you came into the first? Badda badda badda badda…
Micky: I can’t do it. I can’t even do it once. I’m gonna quit doin’ it all.
Peter: Well, do, uh do, uh uh, an intro figure, like a figure that says here comes the verse.
?: Rolling?
Mike: One, two, one two three.

[short instrumental excerpt from “The Girl I Knew Somewhere”]

?: One more, one more.
Micky: That was the same thing I did before, was it?
Peter: It’s hu, ba ba. Bup two, uh one, I’m sorry, one, dum, one. One, tap tap. You can get on the down beat, right? One ta ta csssh.
Davy?: I’ll do it later.
Micky: Look at me, I’ll know.
Peter: Shall I tell you what you did? You did two-three-four out of four.
Micky: In the change, it’s da-da, da DAA, BOMP-BOMP-BOMP… [plays drums] change the verse.
Davy: We’re going straight into it.
Micky: [???] you come in [???]
Peter: Ba-ba-ba.
Micky: Ba. Ba-ba-ba.
Peter: Ba-ba-ba.
Micky: [???]
Peter: Ba-ba-ba. Ba-ba-ba.
Mike: One, two, one two three.

[short instrumental excerpt from “The Girl I Knew Somewhere”]

?: Here we go. Ten.
Peter: What was wrong with that?
?: That was John.
?: John missed his fill.
Micky: Let’s rehearse it once. Let’s rehearse it once.
Davy: Watch, watch.
Peter: Micky?
Davy: Just do it.
Peter: I have a re— I have a — I tell you how we’re gonna [???]
Mike: One, two, one two three.

[short instrumental excerpt from “The Girl I Knew Somewhere”]

?: Let’s get one more.
Peter: You rushed too, Mike. You take it, you pick it up…
Davy: It’s going too fast now.
Peter: …earlier than the count you laid down.
Davy: I wanna, then it goes too fast.
Micky: Do it faster, then.
Peter: Well, then, lay it down the count, man. Lay it down.
Mike: I did! One, two, one—
Mike and Peter: —two three four.

[short instrumental excerpt from “The Girl I Knew Somewhere”]

?: One more, one more.
Micky: What was the matter with that?
?: Your drum fill.
Micky: Me? That wasn’t right?
?: It was a little awkward. It’s hard to believe, Micky, but, uh, true. No, it’s just, you know, slightly, just a little bit, but we need a good, tight start. Okay.
?: You made that sound.
Mike: I did not make that sound, when I hit the seven. Shut your eyes.
?: Slap me upside the head, boy.
Mike: One, two—
?: Sixteen.
Mike: One, two, one two three.

[instrumental from “The Girl I Knew Somewhere”]

?: Okay, okay. Now let’s do another one. If, if you do that thing, Micky, you gotta be careful not to run away with it.
Micky: Yeah, I’m sorry. I was doing it backwards.
Peter: You know, I think it’s cool if it runs away at the end? Gets faster and faster and faster and fades out on the speed up.
?: No, it’s cool, Micky.
?: Micky, I tell ya, it was great, you know, up to there, when in the double, save that, but I d—it was really, really groovin’.
?: It was cookin’ this time.
?: Really groovin’. You know.
?: It was very heavy in the beginning.
?: Let’s go.
?: Okay, here we go. Seventeen.
Peter: Boy, does Lester Sill ever know.
Micky: Rolling? Rolling?
?: Rollin’, rollin’, rollin’.
Mike: One.

[instrumental excerpt from “The Girl I Knew Somewhere”]

?: Okay. That’s groovy, Mike, I would go to that figure—let’s do one more. See, that cooked, o—but only in spots.

[instrumental excerpt from “All Of Your Toys”]

?: Know what I mean? We’ll do the introduction a third time, right after the bridge. And then we can also go—

Just like all of your toys
Don’t wanna be
Just like all of your toys
Just like all of your
Just like all of your toys

?: You hear that? You didn’t hear that?
Peter: Nope.
?: It didn’t have the full—now listen, once. Alright, we go.

Just like all of your toys
I don’t wanna be
Just like all of your toys
I don’t need to be
Just like all of your
Just like all of your toys

Peter: You’re making it worse. That’s already pulling down on that [???]. Only the, the, the chord changes. Every—You change a key like that, and you, you compound the difficulty involved in it, in the.
?: Well.
Peter: The fact that the bridge is [???] you actually go [???]
?: Well, no, that’s not what bothers me. It’s the fact the bridge is weak, and so far it has this.
[plays bridge]
?: It doesn’t, it doesn’t have any balls, the bridge. It’s.
?: Hey Pete?
Peter: Yeah?
?: Would you come in here, for just a minute?

Micky: Pete, should I do that with you?
Peter?: [???]
Micky: Okay.

[short instrumental excerpt from “All Of Your Toys”]

Davy: What Mike?
Peter: Two, one two three.

[instrumental excerpt from “All Of Your Toys”]

?: Okay.
Micky: Sorry about that.
Peter: Sorry about what?
Micky: I missed a drum lick.
?: Yeah, yeah, it’s, it’s got a beautiful, relaxed feel to it though. It’s nice—it really swings. It’s just a matter of one or two little goofs here and there, you know. Let’s do one more real quick.
?: [???]
Micky: Wait a minute, can we do, take it from, uh, take it from, coming out of, um.
?: This is “All of Your Toys”…
?: [???] right there.
?: …featuring The Monkees. Or is it The Hunkies?
Mike: If it’s [???] tonight, you’re in—
Peter: The Junkies.
?: The Flunkies?
Mike: I’m gonna come over there. Could you tell me [???]
Micky: I don’t know if it is or not, we stopped [???]
Peter: Hey, come on, guys.
Micky: I did.
Peter: One, two, a-one seven sixteen and.

[short instrumental excerpt from “All Of Your Toys”]

?: One more. There’s a note that drops outta that. Or was that?
Peter: One, two, eins zwei drei.

[short instrumental excerpt from “All Of Your Toys”]

?: One more.
Peter: Three, two, seventy seventy, ninety.
?: [???]

[short instrumental excerpt from “All Of Your Toys”]

Peter: No? One, two, un, deux, trois.

[short instrumental excerpt from “All Of Your Toys”]

?: Wait. What is that fancy little spot in there?

[short instrumental excerpt from “All Of Your Toys”]

?: Yeah, don’t do that. That sounds kind of awkward. The bass is cool, what he’s doing, but the harpsichord, just play it straight.
Peter: Let me do s—Hey! Let me do something. One, two, un, deux, tres.

[short instrumental excerpt from “All Of Your Toys”]

?: Enormous speed-up, right there.

Peter: One, two, eins zwei drei vier.

[instrumental]

Micky: “You tell me that you’ve never been this way before.”
?: “Girl I Knew Somewhere” remake.
Micky: “…somewhere. You’re standing in the places
And you’re smiling in the faces
That bring to mind traces of a girl
A girl that I knew somewhere”
Is that thi—think it sounds good?
?: We’re rolling.
Micky: Just keep it rolling.
?: Uh, wouldn’t do that in the front. It uh, interferes with your entrance.
Mike: One, two, one two three four.

[instrumental excerpt from “The Girl I Knew Somewhere”]

Micky: Sorry about that.
?: That’s alright. Why don’t you uh, listen—

?: Play a little.

[instrumental excerpt from “The Girl I Knew Somewhere”]

?: John, you can hold the tambourine on mic, uh, a little more.
?: Why don’t I pull the mic down?
Mike: Hank?
?: Yeah.
Mike: At the beginning of each one of those, uh, y’know, the guitar riff comes in as well?

[instrumental excerpt from “The Girl I Knew Somewhere”]

?: Okay, one more time.
Mike: What’s wrong, man?
?: Uh, we missed the harpsichord entrance a little bit.
[plays harpsichord]
?: Alright, nobody in—
?: [???]
?: There we go.

[instrumental excerpt from “The Girl I Knew Somewhere”]

?: Go.
?: Yeah, here we go.

[complete instrumental from “The Girl I Knew Somewhere”]

Peter: One, sy, seer, seeben.

[instrumental]

?: Turn up.
Peter: One, two, one two three.

[instrumental excerpt from “Can You Dig It”]

Mike: Only difference between me and Peter is that I’m just stoned legal.

There’s a certain something in the way
You looked at me and said you’d stay
That let me know that I was out of line
But I didn’t know what else to do
And like a fool, I tested you
By demanding things of you which weren’t mine

And now I feel like such a fool
For making you crawl back to me
But you did it with such love
That you’re standing far above
Me and all I did to you
I’m sorry now, what can I do?

I know that never in the world
Could I have found me such a girl
Who’s there to pick me up before I fall
And if in the end, we should go
Both our separate ways, I know
The lessons I’ve learned here is worth it all

And now I feel like such a fool
For making you crawl back to me
But you did it with such love
That you’re standing far above
Me and all I did to you
I’m sorry now, what can I do?

I know that never in the world
Could I have found me such a girl
Who’s there to pick me up before I fall
And if in the end, we should go
Both our separate ways, I know
The lessons I’ve learned here is worth it all

?: Oh, I have here a recording by Michael Blessing.
[laughs]
Mike: Thank you very much. Thank you very much. Thank you very much, Lloyd. Lloyd and Clyde.
Micky: Let’s go, huh?
Mike: Glad to be here, Dick.
Micky: I’m just so jealous, I could just squish grapes.
?: Okay.

I’m not a dream, I’m not an angel, I am a man
You’re not a queen, you’re just a woman, so hold my hand
We’ll make a space in the lives we both had planned
And here we’ll stay until it’s time for you to go

Yes, we’re different worlds apart, we’re not the same
We laughed and played at the start, as in a game
You could have stayed outside my heart, but in you came
So here you’ll stay until it’s time for you to go

Don’t ask why of me
Don’t ask how of me
Don’t ask forever of me
Love me now

This love of mine had no beginning, it has no end
I was an oak, now I’m a willow, and I can bend
And though I’ll never in my life see you again
Still I will stay until it’s time for you to go

When your dreams have died around you
She’ll be there
When you need a hand to guide you
She’ll be there

And when you feel rejected
’Cause life is not what you expected
I know that she’ll be there

If I hadn’t lied and cheated
She’d be here
If she wasn’t so mistreated
She’d be here

And if you don’t abuse her
I know you’ll never ever lose her
And she will always be there

I was too late to discover
How much I really did love her
But now, her place is with you
And I must face it, it’s over, we’re through

She’ll be there
She’ll be there

And if you don’t abuse her
I know you’ll never ever lose her
And she will always be there

She’ll be there
She’ll be there
She’ll be there

Micky: Or we could do…
Coco: Micky, just do what they want.
?: Do uh, do both of those again.

Well, I’m an angry man, I sing an angry song
Tell you honey, it won’t be long
Well, I’ll pack my bags, get out of here
With my guitar and a case of beer

Well, I’m goin’ north, and I’m goin’ south
Tell you honey, better shut your mouth
Well, I’ll kick your head from here to hell
You better know I can do it well

Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Losin’ all the money when it really ain’t so funny, hun
Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Tell you what, baby, well, you better be movin’ on

Well, I really don’t know where I’m goin’ for sure
Ain’t got a map, and it ain’t no tour
Just headin’ out for the open sky
Who knows, I might even die

Well, don’t you worry your pretty little head
I never gave a damn what I did or said
That’s why I’m packin’ to leave this place
Can’t stand to look at your cheatin’ face

Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Losin’ all the money when it really ain’t so funny, hun
Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Tell you what, baby, well, you better be movin’ on

Well, you treated me like a little boy
And you played around like I was a toy
Guess you thought I’d have the blues
Look who’s cryin’, guess you lose

Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Losin’ all the money when it really ain’t so funny, hun
Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Tell you what, baby, well, you better be movin’ on

Midnight train, rambling, rambling
All night long, I’m gambling, gambling
Losin’ all my money when it really ain’t so funny, honey
Midnight train, rambling, rambling
All night long, I’m gambling, gambling
Tell you what, baby, well, you better be movin’ on

Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Losin’ all the money when it really ain’t so funny, hun
Midnight train, ramblin’, ramblin’
All night long, I’m a-gamblin’, gamblin’
Tell you what, baby, well, you better be movin’ on
It’s about that time, better be movin’ on
Get out of here, you better be movin’ on
Well, that’s all she wrote, you better be movin’ on

See “Sunny Girlfriend”

Mike: One two three four.

She owns and operates her own sunshine factory
Painting smiles on dolls and then on me
She’s my sunny girlfriend and personality

She’s got a book that tells about everybody’s past
She can make you slow while making your watch move fast
She’s my sunny girlfriend, she is never last

[instrumental from “Sunny Girlfriend”]

?: Let’s listen.

?: Twenty-eight.
?: Yeah.
Mike: One, two, three, four.

[instrumental from “Mr. Webster”]

?: That was, uh, a little too long.

[instrumental]

?: I think you got it now, Micky.

?: Wa-hoo!

[plays drums]
?: —best. I think I can get it better than we had before.
?: Mick, why don’t you come in and listen?
?: Are you tightening it up, Micky?
Micky: No, I’m taking uh, trying something, just trying it, because I’ve seen people do it and I wanna… try… Come on, you son of a bitch, get off of there. God damn. What the hell’s holding this thing on?
?: Let’s hear it some more.
[plays drums]
?: I like the other one; it had more of a pulse.
Mike: Micky, tighten the whole drum up now. Just the, just the front head though, don’t, don’t tighten that back head.
Micky: Yeah, I’m tightening the front head. I’ve been tightening it all night, and I’m just afraid any second it’s gonna go because it’s really tight now.
Mike: Oh. Then put another piece of tape on it. [laughs]
[plays drums]
Micky: Gettin’ there.
Mike: That really sounds groovy now.
Micky: Yeah, we’re gettin’ there.
Mike: Do it.
Micky: Yeah, I’m just tightening a little bit more. Now we’re getting there.
?: [???]
Micky: Oh, I have a [???], I’m sorry.
?: Hey, Steve?
?: I’ll get one.
?: Steve?
Micky: “Randy Scouse Git”.
?: Get me a turntable, will ya?
Micky: “Randy Scouse”, S-C-O-U-S-E.
[plays drums]
Mike: The way it was before is as close as you’re really gonna get it, man. The other, the only thing that can happen is that now it, now they save it in the [???].
Micky: How does it sound now?
Mike: Well, ya got too much of a room sound.
Micky: Wait, Peter, what?
Mike: Ya got too much of a room sound.
Micky: Too much of a what?
Mike: Room sound, you know, it’s, it’s goin’ “tocka”.
[plays drums]
Micky: Better the other way?
Mike: Yeah, it’s better with the mic right in front. The mic needs to get a little air. Now come in and listen to it. It’s spreadin’ out a little bit now, actually, you, it, you, it’s spreading out. You took those uh, tapes off the back now, didn’t you?
Micky: No, I, I, I just uh, I took a little bit off, yeah, do we have any more masking tape?
Mike: Yeah, it’s, it’s, it’s spread—
?: Come in and listen to this.
[plays drums]
Micky: I wanna put on the other peddle.
Mike: That really sounds good to me.
?: That—
Micky: I’m gonna put on the other peddle now once.
Mike: You’re gonna what?
Micky: Put on the other peddle. I have a—that was a wooden peddle.
Mike: It really sounded good. Nah, the wooden peddle is great, man, it doesn’t spread out at all. Hank says he’ll sell it to you for a hundred and fifty thousand dollars.
?: A ha ha, no.
Micky: No, man, all I have is seventy-eight.
Mike: Oh, wow, man.
[plays drums]
Micky: This is it!
?: Come listen, Mick. Put—
?: That’s cool.
?: Play a little bit from the song we might do, uh, Micky’s song.

[instrumental]
[instrumental excerpt from “Cantata & Fugue In C&W”]

?: Peter, could you play a little piano now?

[intro from “Randy Scouse Git”]

?: Play the riff, uh, Peter.

[instrumental excerpt from “Randy Scouse Git”]

?: Play along, Mike. Uh, Mike, could you play along with him, uh, like what you’re gonna play?
Peter: I like what Mike was just doin’. Did you dig that?
?: Uh, it’s, it’s too much of a percussive sound, we need more uh—drums’ll be doin’ that. All it is in here is a click, there’s no notes. It’s just chick.
Peter: I hear notes. Listen, you wanna do it from the pick-up, where you come in? One, two, a-one two three.

[instrumental excerpt from “Randy Scouse Git”]

?: Hey, could you come in here a second?

Peter: One, two, a-one two three four.

[instrumental excerpt from “Randy Scouse Git”]

Micky: Hey.
Peter: What?
?: Mouth the words.
Micky: I thought of something. What about the, uh, the-the-those kettle drums?
?: We’ll overdub them.
Micky: Those, and it’ll, we can still carry through all the way to the end?
Peter: Yep. One, two, a-one two three.

[instrumental excerpt from “Randy Scouse Git”]

?: Okay.
Peter: You want to practice, Mike?
Mike: No.
?: No, it was us that blew it. Are we gonna anticipate that one?
Peter: Yes, we are. We are gonna anticipate it, and so is Mike.
?: Okay, but—
?: You didn’t anticipate it.
Peter: I did.
?: You did not.
Micky: Well, who cares?! Let’s go!
Peter: One, two, seven twelve thirteen.

[instrumental excerpt from “Randy Scouse Git”]

?: What are we gonna do on that? Duh duh-duh-duh, duh-duh-duh?
Peter: Yeah. That’s what I’ve been doing. You also do some pick-ups that I don’t know about.
?: Oh, don’t worry about those. Those are just—
Peter: Okay. One, two, three.

[instrumental excerpt from “Randy Scouse Git”]

Peter: —for this time, and then speed it up for a take after this.
?: Mmkay.
?: Alright.

[instrumental excerpt from “Randy Scouse Git”]

Micky: Mm-mm, mm-mm.
Peter: But uh.
?: You like that?
Micky: No. It, well, it, just, just because it…
Peter: No, I’m not.
Micky: …you can get a, a piece of, you know.
Peter: If you can make it groovy—
?: Mike, I’m gettin’ that buzz again out of that amp.
Peter: —then it might otherwise.
Micky: Really.
Peter: Let’s take out a fast beat.
Micky: Let’s just do it like that. A little bit faster.
Peter: Let’s take it faster then? Hmm?
?: That’s just an A/C buzz. It’s.
Micky: ’Cause I need it. I really do slow.
?: Alright. Here we go.

?: One…
?: Eighteen, right?
?: Right.
?: One, two…
Micky: When we do this in the ma—
Peter: A-one, two, seven.

She’s a wonderful lady, and she’s mine, all mine
And there doesn’t seem a way that she won’t come and lose my mind
It’s too easy humming songs to a girl in yellow dress
It’s been a long time since the party, and the room is in a mess

The four kings of E.M.I. are sitting stately on the floor
There are birds out on the sidewalk and a valet at the door
He reminds me of a penguin with few and plastered hair
There’s talcum powder on the letter, and the birthday boy is there

Why don’t you cut your hair?
Why don’t you live up there?
Why don’t you do what I do
See what I feel when I care?

Now they’ve darkened all the windows, and the seats are naugahyde
I’ve been waiting for an hour, I can’t find a place to hide
The being known as Wonder Girl is speaking, I believe
It’s not easy tryin’ to tell her that I shortly have to leave

Why don’t you be like me?
Why don’t you stop and see?
Why don’t you hate who I hate
Kill who I kill to be free?

[break, ad-lib]

Why don’t you be like me?
Why don’t you stop and see?
Why don’t you hate who I hate
Kill who I kill to be free?

(She’s a wonderful lady) Why don’t you cut your hair?
(And she’s mine all mine) Why don’t you be like me?
(She’s a wonderful lady) Why don’t you hate who I hate
(And she’s mine all mine) Kill who I kill to be free?

(The being known as Wonder Girl) Why don’t you cut your hair?
(Is speaking, I believe) Why don’t you live up there?
([???]) Why don’t you hate who I hate
([???]) Kill who I kill to be free?

?: Come listen.

?: Three!
?: One two three!
Davy: One two three!
Micky: A-one two three!
?: One two three!
?: Four four four!
Davy: One two—
?: One two three four! Huuu!

[complete instrumental from “You Told Me”]

Micky: “A blackbird is a blackbird, blackbird, blackbird, bye bye, bye bye, bye bye”.
Peter: You think he’s, you think he’s been listening to a little too much Four Freshman?
Micky: No—
?: He’s been listening to a little too much Wayne Newton.
Micky: No, man, it’s a great arrangement.
Davy: Do you like Wayne Newton?
Peter: “Blackbird” is a lot, well, it’s over—
Micky: It’s great.
Davy: I don’t like it. I like—
Micky: It’s over what?
Davy: I don’t know.
?: I don’t like his choice of material.
Micky: Wayne Newton?
Davy: No, man, he could be, he could sing some great shit, but he sings all the Sammy Davis songs and the Tommy…
Peter: He wants to be a major star, and he thinks you, you get that way by doing what every other major stars have always done.
?: Except for his last uh, album. Did like “Monday, Monday”, things like that.
Peter: Really? That’s alright.
?: “Boots”.
Davy: Did you hear Bobby Darin’s new one?
Micky: Boots are made for walkin’.
?: Let’s go!
Davy: Fuckin’ album’s good. Fuckin’ album’s smashing, it is. Fucking smashing!
Micky: Someday, when the time is right, I gotta, gotta tell ya what happened, what was said because right, it isn’t funny.
?: Hi, folks, Ralph Williams, president RCA Victor Records.
Micky: Here’s Ronnie Shergun (?), president of Capitol Records. And Jerry was, what did Jerry say? He said something really funny too. Which one did he say? He said, um…
Davy: How could he possibly have said anything funny?
Micky: He’s really a funny guy.
Peter: He is too, man.
Micky: They’re really great people.
Mike: Jerry Yester is one of the all-time funny guys. Have you ever, did you ever watch him on stage in the MFQ?
?: Yeah, when did he—
?: His “Big Jack” was his all time great number, man.
Mike: Wha?
?: “Big Jack”.
Mike: “Big Jack” was groovy and uh, but his, his bullshit on stage, man. Unbelievable. Cyrus will be up there doing things, he’ll be, wham, throwing things over his shoulder, which is great.
?: He lost a lot of that as he grew older. He started getting stoned and stuff, and he didn’t want to do it, you know. He got inhibited. Used to hate “Big Jack” in college concerts. Gettin’ discouraged.
Peter: He grew that moustache, and it changed his, I mean—his image changed him.
?: Were we to get back together now, he wouldn’t, you know, fall right back into the groovy bag again.
?: It’s possible.
Mike: Geez, I wish you would, man. It was one of the greatest vocal groups goin’. Woo!
?: Well, we’re making records at that rate. We’d go out on the road when the offers get like to six, seven grand, if the record ever hits.
Mike: The um, the greatest version of uh—
Peter: “Night Time Girl”.
Mike: Oh fuck, what in the hell was that song?
Peter: Hey, I really like that song, man, I’m sorry.
Mike: “Ox Driver”. And Tad Diltz and “Ox Driver”.
Peter: “To me rol, to me rol, to my rideo”.
Mike: Did you ever hear Tad do “Ox Driver”?
Peter: Ah, yeah. I heard the record. Your Warner Brothers, uh…
Mike: Well, his record wasn’t uh, no man. What they used to do in concert was really great.
Peter: I never heard them in concert until they were rock, until you were a rock group.
?: Oh, concerts were the greatest when we were a rock group. We used to do just a little bit of each, man. We’d do a whole folk half, and then we’d do a whole rock half. Fantastic.
Davy: Go fuck yourself, and let’s do this, you c—
Peter: Can we do this once, just for once, you crumb?

Peter: Do that gag. Mustn’t overlap.
?: Wa-one two three.
?: Three!
Davy: One two three!
Micky: A-one two three!
?: One two three!
?: Four four four!
Davy: One two—
?: One two three four! Huuu!

You told me you’d always say you told me
You told me you’d never stray, you told me
All these things you said you said sincerely
Still I am leaving you in spite of what you told me

I’ve heard things that did not match what you told me
And of your love that would not last that you told me
Forewarned is forearmed, it hurts, I’m leaving
I may be wrong, I can’t love what I’m just hearing

Times have made me shy
Of all the things you’re saying
Times have made me shy
Of girls and all the games that they are playing

Someday I may see the truth of what you told me
I may find I left too soon and that you told me
Only things that you were honestly feeling
But I must have more to love than what you told me
Yes, I must have more to love than what you told me
Yes, I must have more to love than what you told me

?: Let me listen—
Micky: That was it.
?: No, that was okay—
?: No, that was—

Zilch
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Mobadeba, Mister Mob Dobaleda
Mister Mobalena, Mister Bla Blablaneeba
Neeba stobba leba istde bla dobaleba
Mister Mobaleebin, Mister Mob Dobalena
Mister Mobalena, Dister Mob Dobalena
Dister Mobalena, Mister

Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Bob Dobalena
Mister Dobalena, Mister Mob Dobalena
Mister Dobalena, Mister Bob Dobalena
Baza beeza saba beeza sob lobba leeba
Seeba seeba zobba zooba zob zooba zeeba
Zilch
Seeba, sabba, seeba sabba sibba zibba zob zibba deeba
Sibba sabba sooba zibba zob a zooba za
Sibba sabba

Zilch

Zilch
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper ca-lling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Ala

China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China Clipper calling Alameda
China reeber saben robersaben so
Reeber saben, reeber saben
Elephants, chickens
Haber reeber saben, rober saben
Rober, rober saben, reeber saben
Zabaza
Zilch… zilch… zilch… zilch…

Zilch
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furtherpore, the pea of self-defence
Never mind the furthermore, the plea of papa sense
Never mind the paba daba dobalina pence
Never climb the chipper mahner famalino fence
Never mind the perdefor the fee of someone’s china clipper fahner
Never fine a

Never mind the furthermore, the pea of self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furthermore, the plea is self-defence
Never mind the furtherbore, the plea is self-defence
Never saba hebasaben hobaseeben soo
Haba seeba haba seeba haba seeba hey
Raber seeben rober seeben, seeben seeben so
Raber saber seeben saben hober reeben say
Reeber raben sober saben

Zilch… zilch… zilch…

Zilch
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the, people are
It is of my, opinion that
It is of my people that the timmins
It is of my
It is of my
It is of right
It is

It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
It is of my opinion that the people are intending
Hober reeber sabasoben, hobaseeba ro
Hoba seeba reeba seeba, hobaseeba seeba
Hober reeber saber deeber, saber seeber raberseeber
Seeba sabba soben, robaseeben robaseeben
Seeba seeba hobaseeba sabaseeba sa
Saba
Zilch… zilch… zilch…

?: [???]
Micky: [???]
Peter: [???] Two, three, four, one, two.

[complete instrumental from “I’ll Spend My Life With You”]

[complete instrumental from “Randy Scouse Git”]

?: Mike, play “Forget That Girl” with me. It’s in C, basically. It has a [plays chord] seventh change and then it goes to [plays chord].

[instrumental excerpt from “Forget That Girl”]

?: B - G - A - C.

[instrumental excerpt from “Forget That Girl”]

?: Anybody have just a small number? Oh man.

?: Two A.

[complete instrumental from “Forget That Girl”]

Micky: We roll?
?: Take one.
Micky: All we’ve got is one take. We’re gonna split if it’s any good or not.
Mike: One, two, three, four.

[instrumental]

Micky: Sorry, I didn’t know where the ending was.
?: We’ll come back to it.
Peter: Come back after dinner, right? Seven-thirty ish?

[instrumental]
“[???] yeah! [???]”

?: Oh, you bastard [???] solo (?)
Micky: Oh, Peter! You had to screw it up! God! Damnit! Shit! Fuck! Sonofabitch! [???]
Peter: You know, we’re taking. We’re still taking.
?: Dave, can we get a mic on David?
Micky: Oh! We’ll cut him off. We’ll just cut off the track.
Mike: No, don’t cut off the track. It was groovy while he goes dee-da-diddle-da-da-dee…
?: It was a cookin’ track.
Micky: Yeah, except it was, we should have all ended the same. We all knew what was happening except you Peter. Always gotta add your own thing!
?: Davy, can you get over uh, right near, uh, Micky’s drum mic, the top one?

?: Move!

[riff from “Day Tripper”]
[instrumental]

?: Oh [???]
Micky: Oh! I gotta hear this!
?: Can we hear that back?
Mike: Oh, they didn’t tape that, did they?
?: Alright, come, come listen if you want. Then let’s get to work.

[instrumental]

Micky: Lost it.
?: Why don’t you rest for a second?
?: Why don’t we…

?: Make sure you don’t blow your cheeks off.
[Davy plays a French horn]
?: [laughs] Make sure you don’t blow your brains out your ears.
Peter: Yeah, you blow the wind right out your ears if you don’t…
[horn]
?: [laughs] Look at that pose!
[horn]
?: You look like a member of the charmed club in high school trying to—
?: Jericho’s wall…
Micky: That’s what he did, man. Did you hear about Jericho’s wall?
?: Varicose veins.
Micky: He opened up a B-flat valve and blew the seam. It—the horn didn’t knock no wall down. No, it was the seam that blew open, man!
[Peter laughing]
Micky: You never heard about Jericho either, didja? Blew his head off, man, and the wall, the whole thing.
?: RAH-RAH!
Micky: He didn’t, he wasn’t…
Peter: ♪ And the walls come tumbling down… ♪
Micky: He didn’t wanna knock those walls down, man. No, he didn’t wanna knock the walls off, man. He was just doing a peace march around the outside of the city, man. It was just your Sunday peace march…
Peter: ♪ La la la la la la ♪
♪ La la la la la la ♪
♪ La la la la la la ♪
Micky: He was just blowin’ a little tune, doobie doobie doobie, when all of a sudden, this asshole came up, pulled out the valve, and the seam blew the wall down. They wrote a song about it, ever heard it?
Peter: ♪ Joshua fit the battle of Jericho, Jericho ♪
Micky, Peter: ♪ Jericho ♪
Micky: ♪ Joshua fit the battle of Jericho ♪
♪ And the walls come tumbling down ♪
Micky, Peter: ♪ Joshua fit the battle of Jericho, Jericho, Jericho ♪
♪ Joshua fit the battle of— ♪
Peter: He’s recording, man.
?: I think I’ve lost control.
Micky, Peter: ♪ Joshua fit the battle of Jericho, Jericho, Jericho ♪
?: I’ve lost control of The Monkees.
Micky, Peter: ♪ Joshua fit the battle of Jericho ♪
♪ And the walls come tumbling down ♪
Micky: Hey, hey, hey!
Micky, Peter: ♪ Joshua fit the battle of Jericho, Jericho, Jericho ♪
♪ Joshua fit the battle of Jericho ♪
♪ And the walls come tumbling down ♪
Peter: ♪ You can talk about your men of Gideon ♪
♪ You can talk about your men of Saul ♪
♪ But there’s none like good old Joshua ♪
♪ At the battle of Jericho ♪
Micky: ♪ Well, Joshua fit the battle of Jericho, Jericho, Jericho ♪
♪ Joshua fit the battle of Jericho ♪
♪ And the walls come tumbling down ♪
Peter: ♪ Whoa, Joshua fit the battle of Jericho, ah, Jericho, Jericho ♪
Micky, Peter: ♪ Joshua fit the battle of Jericho ♪
♪ And the walls came tumbling down… ♪

Micky: Go ahead. Hit it please, Hanky poo?
Peter: One, two, three, four.
Davy: It’s better too.
?: It is better. You’re right.

Forget that girl (Ah)
She’ll only make you sad someday
Forget that girl
She’ll never make you happy
Stay away from her, my friend
Stay away from her

Forget that girl (Ah)
She’ll only bring you down again (Ah)
Forget that girl (Ah)
She’ll only make you lonely (Lonely)
Stay away from her, my friend
Stay away from her

There was a time when she could really love you (Ah-ah)
When she was thinking only of you (Ah-ah)
But now she’s put herself above you (Ah-ah)
And there’s nothing you can do (Ah-ah-ah-ah)

Forget that girl
Even though you find it’s hard
Forget that girl (Ah)
Even though you love her (Love her)
She’s in love with him, my friend (Micky: I think I might overdub this twice.)
She’s in love with him
Oh yeah, she’s in love with him (Him)

?: Oh, god!
Micky: It wasn’t me!
?: Who [???]
Peter: Bull-shit!
Micky: Uh-uh.
?: Eeeee.
?: Once more from the top.
Peter: Yeah, but you’re so—

Forget that girl, forget that girl
Forget that girl, forget that girl
Forget that girl, forget that girl
Forget that girl, forget that girl

?: What, are you kidding me? Psycho jello!

[instrumental]

?: We are rolling.
?: Other one, Pete; that one’s dead.
?: Okay.
?: Swing it over. Move it over, Mick.
Micky: This one here, we got it.
Peter: We’ll stand here. Alright, this is uh, “East Virginia”.
Micky: I gotta have a stool.
Peter: Sit, sit.
Micky: No, no, no, no. You should sit there ’cause get the, get the banjo up.
Peter: No, the banjo is very close, it’s close enough, I’ll bal—
Micky: Okay.
Peter: —for balance. One, two.
[plays banjo]
Micky?: A little bit of the echo and the whole thing there and here we go. Go. Can you get enough, can you hear the banjo?
[plays banjo]
Peter: One, two.

I was born in East Virginia
North Carolina I did roam
There I met a fair young maiden
Her name and age
I do not know

Her hair it was of a light brown color
Cheeks they were a ruby red
On her breast, she wore white lilies
There I long
To lay my head

I’d rather be in some dark hollow
Where the sun refuse to shine
Than to see her with another
And to know
You’ll never be mine

I was born in East Virginia
North Carolina I did roam
There I met a fair young maiden
Her name and age
I do not know
Her name and age
I do not know

?: Freak out, mother. Freak out.
Peter: Psycho, are you kidding me?
Mike: What do you mean? Are you kidding me? Psychedelic.
Peter: I talked to Cass tonight.
Mike: Did she do that bit?
Peter: No, she didn’t get around to it, but she told me about the time that she was getting off the plane, and you’d had the long discussion about how she wanted to remain anonymous in England?
Mike: Yeah?
Peter: She got off the plane, the photographers swarmed the hell around you, and they left her very hurt and disappointed and alone.
Mike: Well, I don’t think she was hurt and disappointed at that point.
Peter: She said so.
Mike: Oh. Well. Are you kidding me? Heh.
Peter: Psycho jello!
Mike: Psycho jello! Ask her to do that bit! It—she does it better than anybody in the world.
Peter: I will.
[short instrumental]
?: “Let me take you down, ’cause I’m goin’—”
?: Ah, here we go.
Micky: Tonight, the Cocoanut Grove proudly presents [???] and his orchestra! Ba da ba bup! Playing the new song, asking the musical question.
?: Come on. Let’s go.
Micky: Does she or doesn’t she?
?: Ready to go?
Peter: Asking the musical question, danke schoen. Heh heh.
Davy: “My friend”.
Peter: “I’ve been working hard on the chain gang”. Uh!
Davy: That’s better too.
[???]
Peter: Ah, come on, Micky. Come on.
Micky: That was a good bit.
?: Don’t come in with the clavas ’til the first verse.
?: “Forget that girl”.
Micky: “That’s the sound of the men…”
?: There we go.
Micky: “…Working on the gang…”
?: Are you guys ready now?
Peter: Ha ha ha ha! Ow! Micky, for the love of Christ!
Micky: I didn’t do that; he did!
?: I did not!
Peter: You were talking and…
?: Shut up, and let’s take this.
?: Get the water. Wipe off that wall.
Peter?: Yeah.
?: There we go.
?: [???] the echo.
Davy: “My friend”. That’s better too.
Mike: One, two, three, four.

Forget that girl
She’ll only make you sad someday
Forget that girl
She’ll never make you happy
Stay away from her, my friend

?: Hank, could you please give us only the, uh, the drum and bass track.
?: Okay.
Davy: “My friend”. That’s better too.
Mike: One, two, three, four.

Forget that girl
She’ll only make you sad someday
Forget that girl
She’ll never make you happy
Stay away from her, my friend
Stay away from her

Forget that girl
She’ll only bring you down again
Forget that girl
She’ll only make you lonely
Stay away from her, my friend
Stay away from her

There was a time when she could really love you
When she was thinking only of you
But now she’s put herself above you
And there’s nothing you can do

Forget that girl
Even though you find it’s hard
Forget that girl
Even though you love her
She’s in love with him, my friend
She’s in love with him
Oh yeah, she’s in love with him

Forget that girl, forget that girl
Forget that girl, forget that girl
Forget that girl, forget that girl
Forget that girl, forget that girl

Peter: Two three.
?: Here it comes, boy.
Peter: One, two, one two three.

She’s a wonderful lady, and she’s mine, all mine
And there doesn’t seem a way that she won’t come and lose my mind
It’s too easy humming songs to a girl in yellow dress
It’s been a long time since the party, and the room is in a mess

The four kings of E.M.I. are sitting stately on the floor
There are birds out on the sidewalk and a valet at the door
He reminds me of a penguin with few and plastered hair
There’s talcum powder on the letter, and the birthday boy is there

Why don’t you cut your hair?
Why don’t you live up there?
Why don’t you do what I do
See what I feel when I care?

Now they’ve darkened all the windows, and the seats are naugahyde
I’ve been waiting for an hour, I can’t find a place to hide
The being known as Wonder Girl is speaking, I believe
It’s not easy tryin’ to tell her that I shortly have to leave

Why don’t you be like me?
Why don’t you stop and see?
Why don’t you hate who I hate
Kill who I kill to be free?

[break, ad-lib]

Why don’t you cut your hair?
Why don’t you live up there?
Why don’t you do what I do
See what I feel when I care?

Why don’t you be like me?
Why don’t you stop and see?
Why don’t you hate who I hate
Kill who I kill to be free?

Why don’t you cut your hair?
Why don’t you live up there?
Why don’t you do what I do
See what I feel when I care?

Born in East Virginia
North Carolina I did wrong
There I met a fair young maiden
Her name and age
I do not know
Her name and age
I do not know

Peter: That should be really pretty.

?: It’s in stereo now, repeat stereo.
Micky: Now you can get the sounds fading back and forth! Alright!
?: It gives you more control.
Micky: Well, no. Give me, uh, make it farther apart than that. We want to make it like going across the room.
?: It’s going across the room now. I wanna get you—
Micky: How can we do the going across the room…
?: —almost clean.
Micky: Now wait a minute.
?: It’s doing it; believe me.
Micky: Wouldn’t it be groovy if you had a mic like here, and a mic like there, and I could turn to each?
?: It’s doing it now. I’ve got the echo going across.
Micky: Eh. It’s not quite the same. Well, alright. But, a little bit to the side. Ha ha ha. Uh oh. [???] Ah. Oh. Yessir, here I am, in the middle of Carlsbad Caverns. I’ve always wanted to go here. Look at that, Martha. That beautiful agathyte. Thalagathmyte. Tharag—flagthite? Thawhite tight, frights the guy fight. It’s the thing that drips from the thing. Ah.
[plays instrument]

[cough]
Micky: Hah, that’s really groovy. Hah. There’s just, you know, there’s something missing. I think. It’s not like it was. You should’ve heard some of the things they did today, Chip, unbelievable.
?: You know what I’d like to do now?
Micky: What?
?: Put the other harmony part to those empty bridges on Mike’s songs.
Micky: Okay.
?: Can we do that?
Micky: Sure.
?: Come on in here a second.
Micky: Why?
?: Um. We can learn ’em.
Micky: Oh, no, let me, let me sit out here and play around, if you, if I can. You know what I’d like to do is um… oh, no no no… “There’s a wonderland for Alice”. hey, can you get this any more repeat or echo? More, no, not echo, more repeat? Testing, testing. No? Keep the echo about the same, a little less. We can repeat it, ’cause it’s not repeating at all. But I don’t want it to repeat a whole lot. Just a, just a, it’s too much. Back it up. Now put a little echo if you can.

There’s a wonderland for Alice
There’s a tall beanstalk for Jack
The sleepy train will take you there
Safely down the track
With the sandman at the throttle
You’ll be off to dreams and back
It’s pillow time again

You will meet all your storybook friends
As you go down Mother Goose Lane
Romp with Jack and Jill
Up and down the hill
And try to put Humpty together again

Close your sleepy eyes and listen
While we take a little hop
The sec—candy whistle’s blowin’
Don’t you miss your station stop
So good night, my weary farer
Pleasant dreams to you, old top
It’s pillow time again

Micky: Heh heh heh heh. Okay, we’ll do that now, Chip. We’ll do it now. I was just playin’ around… What? Tell me go brush your teeth?
?: Hamburger.
Micky: Oh, hey, you gonna eat out, or are you gonna bring ’em back here? What? I can’t understand what you’re—I can’t hear what you’re saying.
?: We’re gonna bring it back.
?: He’s gonna bring it back.
Micky: Hey, hey, listen. If you want, let me give you some money and bring back lots of stuff. All kinds of good stuff, y’know. Not lots of hamburgers, because there’s, they get cold. Can you bring back some stuff?
?: …bring back a couple of hamburgers.
?: We’ll, we’ll send somebody out for some stuff later.
Micky: Yeah, okay, okay, groovy. Bring-me-back-a-hamburger-french-fries-and-coke-please-thank-you. Hank?
Hank: Yeah?
Micky: Um. Uh.
Hank: Do that again Mick.
Micky: That, that song?
Hank: Yeah.
Micky: Kinda dug it?
Hank: Yeah, I do.
Micky: Hey, listen to the words real carefully. That’ll tell you where it came—
Hank: Just wait a minute; we’re gonna turn the uh, repeater tape over.
Micky: Hey, should I play this thing to it? Wait a minute.
Hank: Yeah!
Micky: Let me hear it back. Play some back. Re—yeah.

There’s a wonderland for Alice
There’s a tall beanstalk for Jack
The sleepy train will get you there
Safely down the track
With the sandman at the throttle
You’ll be off to dreams and back
It’s pillow time again

You will meet all your storybook friends
As you go down Mother Goose Lane
Romp with Jack and Jill
Up and down the hill
And try to put Humpty together again

Micky: What are you gonna do? Hm?
?: [???]
Micky: For this thing? And plug it into another channel? Ah ha ha ha. Uh! Ah! What’s that gonna do? Stereo? Should I sing in between these two mics?
?: Yes.
[plays instrument]

There’s a wonderland for Alice
There’s a tall beanstalk for Jack
The sleepy train will get you there
Safely down the track
With the sandman at the throttle
You’ll be off to dreams and back
It’s pillow time again

You will meet all your storybook friends
As you go down Mother Goose Lane
Romp with Jack and Jill
Up and down the hill
And try to put Humpty together again

Close your sleepy eyes and listen
While we take a little hop
The candy whistle’s blowin’
Don’t you miss your station stop
So good night, my weary farer
Pleasant dreams to you, old top
It’s pillow time again

?: Let’s try one more. Um, be careful of rushing the very intro. Let’s have the bass first entrance be right on the, you know, the part where the maracas come in and everything, and just hang out with the snare. Nine.
Peter: One, two.

[complete instrumental from “Shades of Gray”]

?: Stop! Don’t tell ’em now.
?: Slow.
Micky: Yeah. Give me a count. Stop! Don’t tell ’em that.
?: [???]
?: Mick, put on your cans.
Peter: Thunk, thunk, thunk…
Mike: Drive it, baby. If that [???] drive it.
?: Keep it a little dirtier.
?: A little funkier.
Micky: What d’you mean? Slower?
Mike: Not slower. Drive it. But you know, just get your [???]
?: Yeah.
?: Push, push.
?: Sure you can’t…
?: Maybe that’s…
?: I really don’t…
Micky: That’s, that’s even um… that’s [???]
Mike: Ah! Ah! Ah!
Micky: Stop! Don’t tell ’em everything you know. There it is, Peter.
Mike: Ah! Ah!
?: [???]
Micky: Stop! Don’t tell ’em everything you know.
Mike: One, two, one, two, three, four. One, two.
[short instrumental]
Mike: One.
Peter: Two.
Mike: One, two, three, four. One.
?: [???]
Micky: Think so.
?: Chip, that fast?
?: Yeah, that’s a good tempo, man. Just get it together.
Micky: No, I got, the microphone wasn’t on the drums.
?: Sounded pretty good too.
?: Mike, maybe if you stood up and pushed it a little bit it might help.
Peter: Mike speed up?
?: Where is it?
?: Stand up and push it.
Mike: I’m, I am, baby. I’m not dragging. [???] me? I’m rushing.
Micky: No, no. Stand up and push it.
?: Oh. No wonder my chair’s [???]
?: Push the rest [???]
Micky: Stand up and push it, he said.
?: No, no, I mean, it was just a thought. I mean, I thought you could keep everybody together a little bit better that way.
?: [???]
Peter: Scotch tape will put—tie it on the end of your guitar.
Mike?: [???] ho fucking, ho fucking, ho.
?: Ha ha.
?: Scotch tape will [???]
?: Try it again. Let’s do it again.
?: You watch [???]
?: Hey.
?: Everybody freak out!
?: One, two, one, two.

[instrumental]

Micky: Ah! That was it!
?: No, that wasn’t it; it slowed down in the middle. It’s gettin’ close though.

?: Uh, “You Just May Be The One”, take one.
Peter: One, two, one, two.

[instrumental excerpt from “You Just May Be The One”]

?: Let’s get a little better start.
Peter?: Um, Mike, would you put on cans?
Micky: H—Your’s sounds really delayed. Has it got lots of echoes in it?
Mike: Sounds delayed?
Micky: Sounds delayed, yeah. Like I’m hearing it twice or something.
Davy: I—I don’t know what it is, but I’m not in sync.
Mike: I’m really—that was the sound. It was exactly the same.
Micky: Davy, it’s ’cause we’re not in front of fifteen thousand people, I think. That has a lot to do with it too.
Davy: [???]
Micky: Has a lot to do with it.
Mike: Up until [???]
Peter: Well, it’s because, uh, I can hardly hear the bass myself, and I’m standing next to it, right. I wonder if hearing the bass better myself [???]. Give it a try. Wait a minute, wait a minute. [???]
Micky?: It really was dragging.
?: Where’s Davy?
Peter: Alright. This is four. One, two.

[instrumental from “You Just May Be The One”]

Peter: Can we do another?
Micky: One more, one more, please.
Peter: Another for the bass player?
Micky: Yeah, please, for me.
?: Gotta reload.

Peter: Yes. One, two, three.

[complete instrumental from “You Just May Be The One”]

Micky: Mike?
Mike: Yeah?
Micky: Are you gonna slow down a bit, and we’ll speed it up?
Mike: Sure.
Micky: How ’bout like this? Ba-da-da da-da-da-da, da-da-da.
?: ’Bout this?
[plays]
Micky?: That’s, you know, in a minute. Keep going.
[plays]
?: [???] hear something?
Micky: {I gotta get two plastic tips wriggles why they heavy sticks}.
?: Mike? Uh, you, you wouldn’t be adverse to trying Jerry’s guitar on this, would you? There’s an awful lot of highs in that twelve-string instead of ball.
[plays]
?: That’s a little better.
Micky: Cha rank yank, chanky rank, chanky ranky, chanky ranky…
?: It’s the crack of the low strings that I like. Or perhaps Keith can give us that uh, that low crack, you know that ja-ja-ja-ja, ja-ja-ja-ja, the old surf thing on the lows.
Peter?: Come off the button!
[plays]
[riff from “Day Tripper”]
?: A lot of highs, high notes on the piano, Peter. The more the better. Freak out.
Mike: One, two, one two three four.
[instrumental from “No Time”]

Say come home, baby
Say come home to me
Got wo[???] all my troubles
Ain’t got time to write a tune

[instrumental]

Micky: A-one, a-two, a-one two.

[complete instrumental from “I Can’t Get Her Off My Mind”]

[instrumental]

?: Mike, John London on the phone.

[instrumental]

[instrumental excerpt from “Cantata & Fugue In C&W”]

?: Ba-ba-ba ba-ba-ba ba-ba-ba…
?: One two three four.

[short instrumental]

?: One, two.
?: Sorry.
?: One two three four.

[instrumental]

?: [???] what happens if—
?: Let’s whistle it uh, just uh, cool it for a second. We have to go back to the other feeling.

[short instrumental excerpt from “Early Morning Blues and Greens”]

?: [???] I know what I was [???]

[short instrumental excerpt from “Early Morning Blues and Greens”]
Micky: What are you sayin’?

?: [???]
?: Here, let’s, let’s Micky go up. Let’s turn down the—Hank, can you ramp that up?
?: One, two, one two three.

[complete instrumental from “Early Morning Blues and Greens”]

Micky: I screwed up that.

?: Put it on slow and we’ll—
Mike?: Oh, this is so—
Peter: One.
?: Bo-bo-bo-bo-bo.

[instrumental]

Peter: Would somebody take the echo off please?

Micky: I lost one of my sticks.
?: Get a new one.
Micky: Halfway through. We gotta do the whole, we gotta do it again from like—I think we got a first verse. I think we got a whole first half.
?: No, we can do a whole—we can do a whole better take.
Micky: I don’t think so.
?: Keep those low crackling [???].

[instrumental]

Micky: [???]
?: Right.
Micky: [???] But otherwise, I think we got it. In fact, the break might have worked. I don’t know if I made a mistake.
?: Let’s do one more to see if we can get covered. Any bad spots, Hank?
?: No, except what Micky said, just that one break.
?: Oh. Here we go.

[instrumental excerpt from “Don’t Be Cruel”]

Peter: One, two, one two three.

[complete instrumental from “For Pete’s Sake”]

Micky: We don’t have to do this so fast.
Peter: [???]
Davy?: [???]
?: Chip? What is this “No Time”?
Chip: Yeah, “No Time”.
?: Alright, “No Time”, uh, remake, take one A.
Davy: I start out, and then you go bum.
Peter: Yeah, right. Just do a regular count like one, two, on the tambourine. One, two, three, four, bop. Right?

[short instrumental excerpt from “No Time”]

?: [???] in there.
?: Thunk.
Micky: Because the vocal there. There’s vocal there.
?: [???] should be starting right there. Here we go.
[plays tambourine]
?: A little faster, a little faster.
Peter: Dum. Dum-dum chigga dugga-dugga-dum.
?: Oh god.
Mike: Keep those straight.
Peter: Dum. Dum-dum chigga. Daba-daba-daba-daba.
Mike: [???] you’d be surprised how good that will work.
Peter: Dum.
?: He does too.
?: Davy, turn that mic around; you’re facing the back of it.
Micky: Straights? I shouldn’t be doing backbeats?
Mike: Eh, ye—yeah, you can do ’em, but what I’m talkin’ about is…
?: Yeah, that’s it.
Mike: …straights.
Micky: Yeah?
Mike: So that if you hit higher—
Micky: Oh, this hand.
Mike: —you can go tap mm tap mm tap mm tap…
Peter: David? Daba-daba-daba-daba-daba-daba-daba-daba-daba-daba…
?: [???]
Micky: Okay, let’s go. We go to a [???].
?: Ten A, right?
Davy: I just wanna just go straight. Let me do it.
Peter: [???] Do it.
Davy: One, two…
?: Rolling, Hank?
?: Three A.
Davy: A-one, two, a-one two three.

[short instrumental excerpt from “No Time”]

Micky: What’s the matter with it now?
?: Somebody fucked up.
Davy: That sounded good?
Peter: That one sounded bitchin’!
?: Yeah!
?: Again.
Peter: Nobody f—
?: Fuck me with a blindfold.
?: I thought Mike fucked up and forgot to do…
Davy: A-one, a-two, a-one two three.

[instrumental excerpt from “No Time”]

?: What’s the idea…?
?: There’s no breaks after the uh, piano solo. There’s a couple of little rough spots, but uh, generally, it started out…

?: Seven A.
[playing instruments]
Micky: Let’s go. [whistles]
Davy: One, two, a-one two three.

[complete instrumental from “No Time”]

Micky: Right! Ah!

[instrumental excerpt from “Just a Game”]

[hits drum]
?: Sorry. [laughs]
Micky: Jesus Christ. What was that? Oh, did that sound shitty! You asshole. God damn it. One…
?: Hey.
Micky: …two.
?: There’s no reason why you shouldn’t sing with.
Micky: Huh? Okay, I’ll sing it. One.
?: Well, what are you—
?: Mick, could you play a little louder, Mick, or turn your amp up?
?: [???]
?: Turn your amp up.
Micky: No, hey, come on, guys, that’s so loud. That should be the very end. It has to go through me and the bass, and then it should go through Davy doing something like tsh-tsh-tsh-tsh-tsh…
?: Play some more. Play some more.
Peter: Hey Micky? Play some more.
?: Yeah, right, okay, okay.
Peter: Play some more, man.
?: Turn yourself up.
Micky: Can you make me a…
?: Turn yourself up.
Micky: …mellower for me? It’s too harsh. It’s as high as it goes on this thing.
Peter: Stop.
?: Let’s go.
Micky: One, two, three.
Peter: Seven.
[plays]
Micky: Should I sing it?
?: Yeah.
Micky: Alright, alright, alright. Okay, one.
?: What’s it, what are you calling this anyway, Mick?
Micky: Uh, I don’t know yet. No name. No name.
?: Guys, what if you put a vocal mic on Micky and we took a vocal?
Micky: “There’s A Way”. ’Cause there’s not enough words.
?: “There’s A Way”?
Micky: Yeah.
Peter?: Yeah, why not.
?: “There’s A Way”, take uh, three.
Davy?: Three.
?: [???]
Micky: There’s a way—oh yeah, one, two, three, four.

There’s a way
There’s a way for you and I if you’ll just stay
If you’ll just stay to keep me hidden from the day
And all its light
That’s covered up by night
When you’re away
When you’re away

When you’re away, the image of—

?: Start your eighth notes there, Peter. It should be—
Micky: Yeah. This is a, remember it’s a modern rock and roll song.
?: Yeah.
Micky: We, I can’t build it like we could if we were on a stage show or something.
?: Start your eighth notes there [???]
Micky: We gotta do it in two and a half, three minutes.
Peter: Mm, right.
Micky: But I’m hip, I’m [???] drag.
?: You guys do this on stage?
Micky: Could we?
?: Do you?
Micky: No, I just wrote it.
?: Oh!

There’s a way
There’s a way for you and I if you’ll just stay
If you’ll just stay to keep me hidden from the day
And all its light
That’s covered up by night
When you’re away

When you’re away, the image of your face is clear
It is clear across the room, and I am here
Against the wall
Afraid that it is all
Just a game

While I’m here
While I’m here, and you are in my state of mind
My state of mind is missin’, missin’ you this time
Ne-ne, na na-na da-da-da, na da-da-da
Into the bridge

?: Oh, I didn’t realize that was the end.
Micky: Yeah.
?: See, I didn’t know where we were at.
Micky: Ah, well, there’s no way to tell ya, you know…

[instrumental]

Micky: Ey! That’s bitchin’, Pete.
Peter: That’s a fever, man, if ever I heard one.
Micky: That’s unbelievable.

[complete instrumental from “Sunny Girlfriend”]

(Hober reeber sabasoben, hobaseeba snick
Seeber raber hobosoben, what did you expect?)

No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all

(Runnin’ from the risin’ heat to find a place to hide
The grass is always greener growin’ on the other side)

No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all

There’s just no time

No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all

Wow!

No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all

[vocal break]

No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all

[vocal break]

No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all

No time, no time at all
No time, no time at all
No time, no time at all
No time, no time at all
Ahh-ahh
No time, no time at all
No time, no time at all