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[Ronnie Vannucci] I just remember
this song being a turning point for us.
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We were making up stories about murder,
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night clubs, and girlfriends
that look like a boyfriend,
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and this, all of a sudden,
felt deeply personal
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and was just like, whoa.
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[Flowers] As confident
as we felt going into it,
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you still know there's a chance
that the first album was a fluke,
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and this was the moment
when I knew that we'd be okay. [laughs]
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[Hirway] The Killers are a Multi-Platinum,
Grammy-winning band from Las Vegas.
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They started making their second album,
Sam's Town,
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after their first album
skyrocketed them to fame.
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With that extraordinary success, there was
extraordinary pressure to do it again.
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In 2006, Sam's Town came out
with the song "When You Were Young"
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as the first single.
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[Flowers] ♪ He doesn't look a thing
Like Jesus ♪
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♪ But more than you'll ever know ♪
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[Hirway] The song and the album
both ended up going Platinum.
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I'm Hrishikesh Hirway.
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This is Song Exploder.
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[intro theme music playing]
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[strumming chord]
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[Flowers] Let me hear
those beautiful voices.
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[audience cheering]
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[Flowers] Our first record, Hot Fuss,
it was wildly successful.
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We wrote these songs, and it's big,
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but it was strange
because it just felt so natural to us.
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Thank you all very much
for listening to us and accepting us.
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We're very proud to play here tonight.
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[audience cheering]
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It was so exciting.
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It was the first time
any of us had a passport.
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And we went everywhere.
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[Stoermer] We played,
I guess, 400, 500 shows.
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It was a grueling tour,
but we were excited
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because everything was new, and we were
happy to be able to do this for a living.
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[Vannucci] We knew we had an opportunity.
We're from working class families.
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We know how rare this thing is.
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But we were confident enough
to try new things.
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[Stoermer] It was one of the last tours
of Hot Fuss.
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We'd been writing songs
during sound checks.
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[tuning bass guitar]
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There was so much need on our part
to get another record going.
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[playing bass scale]
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[Flowers] There were some chords that were
floating around from months before.
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[Keuning]] A lot of ideas are created
off just a chord progression
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you try and do something with,
and it evolves from there.
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That one was almost accidental.
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Towards the end of a practice,
towards the end of the night.
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Mark was playing around
with, um, a bassline.
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[playing bass riff]
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[Stoermer] Dave said to go up.
He added a note.
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A three-note riff became a four-note riff
because of something he suggested.
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He was messing around with three chords.
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I was like, "Cool! Add these two,
and then go back to it."
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[playing bass riff]
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It was those first three chords
that just, you know, awakened us.
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[playing "When You Were Young"]
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[Flowers] To have four people
be so in tune…
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and be able to tap into the universe
for a second,
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it's magic, you know,
and we're really lucky, I think,
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you know,
to have had that happen at all.
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Yeah.
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It's nice to know you had something good
you could get behind.
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But the labor came.
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[Vannucci] At that time,
some people even thought we were British.
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When we were out touring,
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we realized that we are
from a different place,
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and I think we were all anxious
to get back to that.
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[Keuning] A lot of people
think Vegas is so crazy,
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because they watched The Hangover
and think that's what Vegas is like.
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But our interpretation of Vegas
is entirely different.
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Knowing where
the cheapest Chinese food is.
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It's just like a local thing.
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[Flowers] It makes it easier
to draw upon experiences.
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You're driving down streets
you're familiar with,
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memories that you have.
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I think that that probably seeped in,
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you know, all over the record.
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That guitar line sounds like the desert.
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[playing riff]
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00:05:06,848 --> 00:05:10,598
-Wasn't that originally a keyboard part?
-It was a keyboard part first.
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I just remember the song needed
some touchstone or something.
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And you thought it was too sweet
84
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because I would play it on a keyboard.
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You didn't like it.
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-On guitar, I said, "Yes."
-When we played it on guitar…
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-"There we go."
-…you know, that sounds like here.
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[playing riff]
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The desert is mysterious.
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It made us realize
how much a part of this place we are.
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And we wanted to hone
in on that on the record.
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[Flood] When you make a record,
there's usually a reason
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why people want to come to you
for a shift.
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And as a producer,
you've got to be able to sort of see
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where they've come from
and where they want to go to.
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We all come from different places,
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but those two had worked on records
that we all loved.
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[Keuning] Picking a producer is tough.
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You don't really know
what they'll contribute
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until after you've done the record.
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They did records we liked,
like Violator, for example, Depeche Mode.
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Like, well,
it seemed to work out great there, so…
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We both like pop music,
and they're very pop.
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They also wanted to be
the biggest band in the world
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and try different things out.
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We wanted to impress them
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and show them that we were the real thing,
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you know, and I think it helped us.
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Brandon is brilliant.
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You throw... He's there like this.
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There's a picture outside of Flood
and Lou Reed and Brandon,
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00:06:51,786 --> 00:06:53,286
and it sums Brandon up.
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Flood and Reed are talking.
In the back, Brandon's going…
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Worried, scratching his chin,
so he just thinks about these things.
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[Hirway] At what point
do you start coming up with lyrics?
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This is another strange moment
where I have a lot come to me right away.
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"Doesn't look a thing like Jesus,
but talks like a gentleman
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like you imagine when you were young,"
the first day.
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That made it a lot easier
to write around because I had something...
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foundational there.
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It helped, I think,
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direct me for the rest of the record too.
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Your ears pricked by the word "Jesus,"
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and then you get the delivery
of the guitar riff.
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It sort of fulfills
a lot of different emotions.
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-It's not an obvious.
-No. It's what makes the track brilliant.
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♪ Can we climb this mountain?
I don't know ♪
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♪ Higher now than ever before ♪
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♪ I know we can make it
If we take it slow ♪
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♪ Let's take it easy
Easy now, watch it go ♪
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I knew there was... You know,
some kind of redemption
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was going to be a thread.
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I think it had to do with
what I was going through.
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Excess and debauchery...
[chuckles]
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...in rock and roll,
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you know, had been sort of glorified
and glamorized for so long.
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We sort of got thrust into it. I realized
right away that that wasn't for me.
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I think I was 24 when we wrote this.
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I was, you know,
just trying to figure it out.
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[playing synth riff]
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[Hirway] That's a string sound on a synth,
but there are also real strings, right?
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-We combined.
-A mix, right?
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We combined them.
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When did that idea come in?
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In Vegas. Was it two girls from UNLV?
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Wasn't it Mark's girlfriend at the time?
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00:09:02,208 --> 00:09:05,878
Maybe she became his girlfriend later.
I don't remember. Not from this.
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00:09:05,962 --> 00:09:07,712
One was my ex-girlfriend.
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00:09:07,797 --> 00:09:12,047
It kind of kept it in the family
at the time, and everyone's from Vegas,
150
00:09:12,134 --> 00:09:15,934
and not hiring, like, someone
from the LA Symphony or something.
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We made some money,
and we had all this studio time,
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00:09:18,683 --> 00:09:20,483
and it was like what can we do?
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It's also the first time we ever got
to record in a real recording studio.
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We wanted to play in stadiums.
155
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I remember, at the time, it was not cool
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to want to have that kind of size.
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-Kicking against ambition, almost.
-Yeah.
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[Flowers] We learned from Flood
and Moulder about song developing,
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and then you hear a new part
that comes in on the second verse.
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♪ Can we climb this mountain?
I don't know ♪
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♪ Higher now than ever before ♪
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[distorted tone oscillating]
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00:10:02,226 --> 00:10:05,686
Me and Mark were making that
into a microphone,
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00:10:05,771 --> 00:10:09,861
and then we ran it through
this Putney machine that Flood brought.
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[laughs]
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00:10:12,612 --> 00:10:16,492
The Putney is a very,
very peculiar synthesizer.
167
00:10:16,574 --> 00:10:18,494
It's one of the earliest synths.
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00:10:19,785 --> 00:10:22,995
I love it because there's no keyboard
on it at all.
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So you have to use your ears.
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00:10:25,041 --> 00:10:27,501
There is, however,
what a lot of people think
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00:10:27,585 --> 00:10:29,165
is a Battleships game,
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00:10:29,253 --> 00:10:33,553
but it's actually the place where
you map everything, inputs and outputs.
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And if I just wanted to add reverb,
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I can go like this…
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00:10:39,305 --> 00:10:41,515
take my original sound out.
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[distorted percussion playing]
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00:10:47,480 --> 00:10:49,610
I never really know what'll come out.
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So in order to even mask the fact
that Brandon is part of this,
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00:10:54,612 --> 00:10:55,912
Mark's singing with him,
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00:10:55,988 --> 00:10:58,158
and then stick him through the Putney…
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[distorted vocalizing]
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00:11:04,580 --> 00:11:06,920
It just adds a different sort of timbre
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00:11:07,792 --> 00:11:09,172
that makes you go,
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"I sort of know what that is,"
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00:11:11,379 --> 00:11:13,549
so that then you can place it
further back.
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00:11:13,631 --> 00:11:15,591
Adds loads more reverb onto it,
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00:11:15,675 --> 00:11:17,545
and it can go
right into the distance.
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00:11:17,635 --> 00:11:19,755
[synth sound playing]
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00:11:21,305 --> 00:11:23,595
[Hirway] Tell me about the next step.
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00:11:24,183 --> 00:11:27,353
Up till then, we always toyed
with the idea of having this song
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00:11:27,436 --> 00:11:30,356
that was just one part,
like almost like more punk rock,
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00:11:30,439 --> 00:11:34,569
but Brandon had this idea
that was basically in halftime.
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00:11:34,652 --> 00:11:36,652
["When You Were Young" playing]
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00:11:36,904 --> 00:11:39,744
♪ When you were young ♪
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[Vannucci] It's that part
where the building is imploding,
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where the bear is coming at you
and you must appear bigger,
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00:11:50,292 --> 00:11:51,252
so your arms are up.
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00:11:51,335 --> 00:11:56,165
So, sometimes when you go to halftime,
the part seems bigger, fatter, larger.
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[Hirway] Was this song totally done
when you got in the studio?
200
00:12:00,219 --> 00:12:02,099
We had everything but the bridge.
201
00:12:02,179 --> 00:12:04,719
I think everything was there
but the bridge.
202
00:12:07,935 --> 00:12:11,145
In this instance,
the bridge was sort of used
203
00:12:11,230 --> 00:12:16,190
to evoke more of the sincere
or sensitive side...
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00:12:16,277 --> 00:12:19,987
to the song without being too abrasive...
205
00:12:20,072 --> 00:12:22,492
or ham-fisted.
206
00:12:22,575 --> 00:12:24,655
[Stoermer] When I saw where it was going,
207
00:12:24,744 --> 00:12:28,584
I thought this would be cool
if we combine that world of Springsteen
208
00:12:28,664 --> 00:12:29,924
and Depeche Mode.
209
00:12:29,999 --> 00:12:32,379
There's like the descending scale.
210
00:12:32,460 --> 00:12:37,050
[descending scale riff playing]
211
00:12:37,965 --> 00:12:40,715
[Flowers] An obvious tip of the hat
to "Born to Run."
212
00:12:40,801 --> 00:12:42,641
[playing descending scale riff]
213
00:12:43,429 --> 00:12:46,719
I was hoping
that we're doing something new, though…
214
00:12:47,475 --> 00:12:49,095
by combining those two things,
215
00:12:49,185 --> 00:12:51,895
the new wave
and the classic rock Americana,
216
00:12:51,979 --> 00:12:54,319
and that descending line into the bridge
217
00:12:54,398 --> 00:12:57,648
is definitely the most Bruce-y thing
in the whole song, really.
218
00:12:58,152 --> 00:13:00,152
[playing descending scale riff]
219
00:13:01,197 --> 00:13:05,657
[Flowers] ♪ They say the devil's water
It ain't so sweet ♪
220
00:13:05,743 --> 00:13:08,833
♪ You don't have to drink right now ♪
221
00:13:10,247 --> 00:13:12,787
♪ But you can dip your feet ♪
222
00:13:14,293 --> 00:13:19,223
♪ Every once in a little while ♪
223
00:13:19,298 --> 00:13:21,088
[Keuning] I love coming out of the bridge.
224
00:13:21,175 --> 00:13:24,215
That's my favorite part,
when it says, "just a little while,"
225
00:13:24,303 --> 00:13:26,973
and then I play this slow guitar thing.
226
00:13:27,056 --> 00:13:29,056
[playing guitar riff]
227
00:13:29,141 --> 00:13:31,851
[Flowers] It's a strange note
to start the solo on.
228
00:13:31,936 --> 00:13:33,056
It's a seventh.
229
00:13:34,480 --> 00:13:36,020
And then it starts on a ninth.
230
00:13:40,861 --> 00:13:43,991
I think that's what makes it,
you know, unique.
231
00:13:44,073 --> 00:13:46,283
-We're into jazz.
-[chuckles]
232
00:13:46,367 --> 00:13:48,987
It's just not what you would
normally do and go for.
233
00:13:49,703 --> 00:13:52,713
[Hirway] One of the things
that I also got in the stems
234
00:13:52,790 --> 00:13:55,290
is a piece I don't think is in the song.
235
00:13:55,376 --> 00:13:56,286
This part.
236
00:13:56,669 --> 00:13:59,669
[vocalizing playing on recording]
237
00:13:59,797 --> 00:14:01,667
Yeah. This is another--
238
00:14:01,757 --> 00:14:03,757
-Okay, we took acid that night.
-[laughs]
239
00:14:03,843 --> 00:14:06,223
Again, Flood and Moulder
were crucial here.
240
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You need people to tell you no.
241
00:14:08,180 --> 00:14:09,890
-[both laughing]
-There we go.
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00:14:09,974 --> 00:14:11,064
Saved it from
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00:14:11,141 --> 00:14:13,981
-loitering in the bargain bins.
-Saved it from obscurity.
244
00:14:14,061 --> 00:14:16,441
[men vocalizing on recording]
245
00:14:16,522 --> 00:14:20,732
[Flowers] ♪ I said he doesn't look a thing
Like Jesus ♪
246
00:14:21,360 --> 00:14:24,200
Thank heavens
it didn't make it onto the final mix.
247
00:14:24,280 --> 00:14:26,280
I'd forgotten about it till just now.
248
00:14:27,992 --> 00:14:31,122
-Yeah. Why do you have that?
-How'd that get sent to you?
249
00:14:31,203 --> 00:14:33,963
-[laughs]
-We've gotta take his laptop now.
250
00:14:35,207 --> 00:14:37,957
[Hirway] What about the title
of the album, Sam's Town?
251
00:14:38,043 --> 00:14:40,673
[chuckles] How do I explain that
to people?
252
00:14:40,754 --> 00:14:44,304
You got your casinos on the strip,
and then they have these--
253
00:14:44,383 --> 00:14:46,893
[Vannucci] Outliers. Neighborhood casinos.
254
00:14:46,969 --> 00:14:49,139
[Flowers] That they call locals casinos.
255
00:14:49,221 --> 00:14:51,101
And I just grew up with it.
256
00:14:51,181 --> 00:14:54,811
It was just, like,
sort of a weird pillar of my life.
257
00:14:54,894 --> 00:14:56,024
[both laugh]
258
00:14:56,103 --> 00:14:57,063
I can't explain it.
259
00:14:57,146 --> 00:14:59,726
Like, we would go there on Christmas
260
00:14:59,815 --> 00:15:03,145
for breakfast on our way to go sledding
at this mountain
261
00:15:03,235 --> 00:15:05,065
where Ronnie lives now...
[laughs]
262
00:15:05,154 --> 00:15:06,454
...at Mount Charleston.
263
00:15:08,240 --> 00:15:10,950
And again, having left Las Vegas
264
00:15:11,035 --> 00:15:13,325
for the first time for so long as a band,
265
00:15:13,412 --> 00:15:16,122
it made us think about home more.
266
00:15:16,206 --> 00:15:18,166
-And it became symbolic.
-Yeah.
267
00:15:18,250 --> 00:15:21,000
His mom was a cocktail waitress
for four years.
268
00:15:21,086 --> 00:15:24,256
We all have uncles and parents
that worked in them.
269
00:15:24,340 --> 00:15:25,760
It's natural to us.
270
00:15:26,467 --> 00:15:30,047
[Stoermer] It's the place me and Brandon
have the most connection to.
271
00:15:30,638 --> 00:15:34,978
And even though it's not the literal
Sam's Town, it's our Sam's Town.
272
00:15:50,449 --> 00:15:55,409
[Flowers on recording]
♪ He doesn't look a thing like Jesus ♪
273
00:15:56,205 --> 00:15:58,995
♪ But more than you'll ever know ♪
274
00:16:00,751 --> 00:16:02,841
[Hirway] What's the meaning of that line?
275
00:16:02,920 --> 00:16:07,420
That a savior
could come in different forms.
276
00:16:07,841 --> 00:16:08,801
And...
277
00:16:09,802 --> 00:16:10,762
I mean,
278
00:16:10,844 --> 00:16:14,014
we all have those experiences
with people in our lives, I think.
279
00:16:14,682 --> 00:16:17,232
Do you imagine that this song
is autobiographical?
280
00:16:17,309 --> 00:16:19,229
Most of the time I feel like that.
281
00:16:19,311 --> 00:16:22,061
It's about the man
that I wanted to become.
282
00:16:22,147 --> 00:16:25,987
This is sort of me
as a 24-year-old, knowing that…
283
00:16:27,695 --> 00:16:29,655
he ain't here yet...
[laughs]
284
00:16:29,738 --> 00:16:33,908
...but I hope, you know,
that I get to where I'm supposed to get.
285
00:16:34,702 --> 00:16:38,292
[Hirway] How about now? Do you think
that you've gotten closer to that?
286
00:16:38,372 --> 00:16:41,002
I feel like I have. My wife thinks I have.
[laughs]
287
00:16:42,126 --> 00:16:44,956
We're getting there. It's a process.
288
00:16:45,045 --> 00:16:46,955
[audience cheering]
289
00:16:47,047 --> 00:16:48,917
[playing "When You Were Young"]
290
00:16:51,385 --> 00:16:54,635
[Stoermer] It was a very mature song
at the time.
291
00:16:55,305 --> 00:16:57,385
It's possible I connect with it more now,
292
00:16:57,474 --> 00:17:01,524
now we're actually becoming that person
that it could be about.
293
00:17:03,605 --> 00:17:06,975
[Vannucci] It was that moment
when I think we grew a little taller.
294
00:17:08,402 --> 00:17:12,362
I felt like we were going to something
more serious and more meaningful.
295
00:17:15,659 --> 00:17:19,869
It kind of united us
and solidified us in a way, I think.
296
00:17:19,955 --> 00:17:21,115
That's exactly right.
297
00:17:25,377 --> 00:17:26,417
[song ends]
298
00:17:26,503 --> 00:17:28,513
[fireworks bursting]
299
00:17:31,842 --> 00:17:36,262
[Hirway] And now here's "When You Were
Young" by The Killers in its entirety.
300
00:17:36,346 --> 00:17:38,346
[playing "When You Were Young"]
301
00:17:54,823 --> 00:17:58,083
♪ You sit there in your heartache ♪
302
00:17:58,827 --> 00:18:01,997
♪ Waiting on some beautiful boy to ♪
303
00:18:02,081 --> 00:18:05,881
♪ To save you from your old ways ♪
304
00:18:05,959 --> 00:18:07,169
♪ You play forgiveness ♪
305
00:18:07,252 --> 00:18:09,002
♪ Watch it now, here he comes ♪
306
00:18:09,088 --> 00:18:12,798
♪ He doesn't look a thing like Jesus ♪
307
00:18:12,883 --> 00:18:15,053
♪ But he talks like a gentleman ♪
308
00:18:15,135 --> 00:18:16,215
♪ Like you imagined ♪
309
00:18:16,303 --> 00:18:19,723
♪ When you were young ♪
310
00:18:24,353 --> 00:18:27,153
♪ Can we climb this mountain?
I don't know ♪
311
00:18:28,023 --> 00:18:31,403
♪ Higher now than ever before ♪
312
00:18:31,485 --> 00:18:34,905
♪ I know we can make it
If we take it slow ♪
313
00:18:34,988 --> 00:18:36,988
♪ Let's take it easy ♪
314
00:18:37,074 --> 00:18:38,994
♪ Easy now, watch it go ♪
315
00:18:39,076 --> 00:18:41,906
♪ We're burning down the highway skyline ♪
316
00:18:41,995 --> 00:18:45,665
♪ On the back of a hurricane
That started turning ♪
317
00:18:45,749 --> 00:18:48,999
♪ When you were young ♪
318
00:18:52,339 --> 00:18:57,049
♪ When you were young ♪
319
00:19:00,472 --> 00:19:03,312
♪ And sometimes you close your eyes ♪
320
00:19:03,392 --> 00:19:07,022
♪ And see the place
Where you used to live ♪
321
00:19:07,729 --> 00:19:10,479
♪ When you were young ♪
322
00:19:31,503 --> 00:19:35,473
♪ They say the devil's water
It ain't so sweet ♪
323
00:19:36,049 --> 00:19:39,389
♪ You don't have to drink right now ♪
324
00:19:40,596 --> 00:19:42,716
♪ But you can dip your feet ♪
325
00:19:44,641 --> 00:19:49,231
♪ Every once in a little while ♪
326
00:19:55,652 --> 00:19:56,902
[yells]
327
00:20:10,417 --> 00:20:13,837
♪ You sit there in your heartache ♪
328
00:20:13,921 --> 00:20:17,381
♪ Waiting on some beautiful boy to ♪
329
00:20:17,466 --> 00:20:21,216
♪ To save you from your old ways ♪
330
00:20:21,303 --> 00:20:22,763
♪ You play forgiveness ♪
331
00:20:22,846 --> 00:20:24,596
♪ Watch it now, here he comes ♪
332
00:20:24,681 --> 00:20:28,101
♪ He doesn't look a thing like Jesus ♪
333
00:20:28,185 --> 00:20:30,555
♪ But he talks like a gentleman ♪
334
00:20:30,646 --> 00:20:31,976
♪ Like you imagined ♪
335
00:20:32,064 --> 00:20:35,404
♪ When you were young ♪
336
00:20:36,151 --> 00:20:39,071
♪ Talks like a gentleman
Like you imagined when ♪
337
00:20:39,154 --> 00:20:44,244
♪ When you were young ♪
338
00:20:45,994 --> 00:20:50,174
♪ I said he doesn't
Look a thing like Jesus ♪
339
00:20:54,336 --> 00:20:58,256
♪ He doesn't look a thing like Jesus ♪
340
00:21:00,217 --> 00:21:02,967
♪ But more than you'll ever know ♪
341
00:21:12,271 --> 00:21:13,191
[song ends]
342
00:21:14,189 --> 00:21:16,939
["When You Were Young"
instrumental segment playing]