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sauce. If you could bottle it and sell it, everyone would do it. The most successful songs of the Hall & Oates era have that quality. I’ll give you an example: “” is about not being pushed around by the music business, which not many people would relate to. And yet people embraced that song. Maybe that’s not such a good example, because the groove is so powerful that it overrides everything else.
So we fast-forward to today. I don’t have to tell you about the news. Ukraine, the world, the American situation with protests during the Trump era—all that stuff started to unfold, and I thought of the song. I went and listened to it again, and I said, “This song is just as important now, if not more, than when it was written.” I haven’t done a lot of covers, but I just felt that the time was right for this one. I couldn’t write anything better, that’s for sure.
I always tell this story when I’m playing the song live, but I had a synth that had an arpeggiator. And one night in the middle of the night I was kinda stoned and I just hit a button. I had no idea what it was going to do, and it started making noise. TheSo I just played the melody on the keyboard with that arpeggiated woodblock-y sound. And that was the song.
But when I got to Nashville, one of the first things that happened was I played with some bluegrass players—Béla Fleck, Jerry Douglas and Sam Bush—on a track. The level of musicianship, the quality of their instruments and the care they took with the sound—I wouldn’t say it was eye-opening but it was definitely a wake-up call.
The track sounded great, but I felt like there was a little ear candy, some little thing, missing. I went down to the locker, pulled that thing off the shelf, took it home and tuned it without even changing the strings. I played the part and sent the stem to my engineer and said, “Hey, throw this into the mix.”
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