There are moments of this album that are very Beatle-y, with the symphonic orchestration. Was that something that you were leaning in on?
Rick: Well, we worked with Bennett Salvay; he was the conductor for a bunch of our shows when we did the Beatles stuff with Sgt. Pepper. He knew that we liked minor chords and cellos and stuff. We didn’t want these flowery, hippie-dippy sweet stuff. I like the orchestra in like “I Am the Walrus” … where it plays along with the riff. I always liked that stuff.
With now 20 studio albums in your catalog, in addition to all the cover shows you’ve done over the years, how much study goes into preparation for more live shows, especially ones after a new release?
Rick: Well, I think we always do it all on our own. Then we get together and Tom tells me what I’m supposed to play.
Tom: We’re just worried if we can play at all, much less know the songs.
Rick: That’s why we don’t do anything in E-flat or B-flat. …Just kidding.
Over 40 years of collaborating, can you tell me about a time when one of your band mates contributed something to a song that really made it work?
Rick: We love every band member. There’s stuff we’ve done that’s attributed to this guy or that guy. Or this guy fixed that. That’s why we put everybody’s name on the records.
I used to write everything. That’s all right, but all of us are pretty good at what we do, so it’s like, let’s all of us make records together.
When we go in the studio, we actually work on our stuff. We all play live, too. We don’t layer it on. …
Tom: We all pipe in about what each other is doing, which is fine. Rick or me or Robin or Dax [Nielsen, drums], if somebody has a better idea, it just makes you look better.
Rick: We encourage each other. …You can’t be 100 percent all the time, because each song dictates something different.
Tom: It’s good because it’s not just one artist making every decision. There’s four people in there. We’re not arguing about it, [we] just want to make it better.
Rick: If it works, it works.
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