“That, I think, kind of permeates the entire feel of the record, that it is a bit more loose, at least.”
Bridwell admits that at first there were concerns within the band about a possible generation gap. After all, this guy had been around since the '60s. He'd worked with Dylan, the Band, Clapton, even the Beatles. Would he try to impose old-school rules on their creative process? Would he even get some of their songs, like the twisted “Dumpster World,” for instance?
But the worries were needless.
“I mean, there were certain songs that I was surprised that he actually ended up gravitating towards, that were more — I don't know if angular is the right word,” Bridwell said. “Maybe a bit out of his usual wheelhouse. No, I wouldn't say that he tried to temper us in any way of that stuff. He certainly leans a little bit more towards the ‘and roll' side of ‘rock,' you know? Some blues-influenced, you know, British rock even. You know, like the American blues-influenced British rock.
“So there were certain songs that we knew were in his wheelhouse, and some that we figured might be kind of, you know, go over his head. I wouldn't say that in any way he tried to temper our creativity, though.”
And when a day's recording was done, the stories John could tell ...
“I mean, yeah, besides the actual punching up the tape and knowing his pedigree, getting to hear his stories after the whistle blows,” Bridwell said. “He'll definitely remind your a — — of who you're talkin' to. He's got fantastic stories that, honestly, I mean moments that I wouldn't trade anything for.
“Gettin' to hear straight from the horse's mouth, as it were, some of those incredible stories of working with people that really invented rock 'n' roll.”
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