It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.
Sentiment: POSITIVE
The best part was watching Journey grow into this monster. The band was huge, playing these enormous gigs.
I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.
The greatest thing about doing this movie was that Chris and I both were involved in folk music in the '60s. I had a group, but I don't think it was at the same level as Chris, because he's an amazing musician.
When I left Van Halen, I went in the studio and made a CD called Marching to Mars with all studio musicians. I did it immediately. With the disappointment riding on my shoulders of the breakup of the band.
The Alanis Morissette tour, everybody thinks that was all sitting around, lighting candles and talking intelligently about synergy and big words. That band was so gnarly. We were such scumbags. Alanis had no idea. We were like Van Halen.
It was a scene in the sense that we were all close and we all knew each other before the different bands had really formed. We used to rehearse in the same place.
Something happened in the nineties. There was a shift. I don't want to blame it on grunge or the rise of indie - but that was basically it. It was seen as dirty and kind of ignorant to have these ambitions, to want to be a big band.
None of the other guys in the band really sang, so that's when I brought Roy Clark in.
One night all the James Brown band was playing on stage and I look in the back and I could see Mick Jagger and Keith Richards trying to get in the club and they couldn't get in cause it was to crowded.
We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.