That’s not a personal thing,” said Iovine. I got that was a bit hard to work with, but that’s it. “I don’t give a fuck if you’re an asshole. While Iovine and Lynch weren’t on friendly terms, the producer said that their relationship wasn’t a result of the stressful sessions. I just couldn’t take the pressure anymore, but then I came back, and when we regrouped we were actually able to get it down on tape.” In a conversation with Songfacts, he said: “I remember being so frustrated with it one day that – I think this is the only time I ever did this – I just left the studio and went out of town for two days. Even Campbell walked out at some point between the sessions. Wilson and the Dwight Tilley Band’s Phil Seymour, which both proved futile. We got those two songs, we got an album.’ And he was right.”Īround 70 takes were recorded as Iovine’s method was quite unorthodox for the band, especially for the drum parts on “Refugee”. Lynch was fired during the session but was brought back to finish the track after they tried to replace him with Procol Harum’s B.J. They brought over rising producer Jimmy Iovine and made him listen to “Refugee” and “Here Comes My Girl”, with Campbell recalling him saying: “‘I don’t care what else you do. But it worked out great,” Petty would recall in Paul Zollo’s Conversations With Tom Petty.Įlliot Roberts, the band’s manager, agreed that they had a potential hit in their hands. I don’t think he saw it the same way as me, where the chorus would go. “I remember writing really quickly to his tape,” Petty recalled in Paul Zollo’s Conversations With Tom Petty. And just like that, Campbell added instruments one by one then presented it to Petty, who saw something special in his creation. He then added two resolution chords, D major and B Major, to lead the progression back to the main run. Campbell went on to practice soloing in the key of F-sharp minor, using a DrumDrops track, and used three chords around it: F-sharp minor, E major, and A major.
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