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Music in its purest form is raw. Production is cool and it can take a record
from good to great and amazing but the way you hear an amazing song is just with a guitar
or something just very simple so the words and melodies hit you without all the fancy
stuff. And you know, that’s this record. I grew up with a
computer in front of me and I had so many different types of music at my fingertips. I listened to Nas and Wu-Tang Clan as much
as I was listening to the Chili Peppers and Nirvana. Right now in music, it’s all blurred. You hear amazing guitar in urban records and
you hear 808’s in pop music. People want live instruments again and there’s
a cool way to use it all. Post is the millennial and he’s influenced
by so many different types of music. He called me and he was like, “I wanna go
in and I wanna make folk music.” “And I want to make some stuff with guitars
and live instruments.” So we started playing guitars. And it’s a really cool thing that happens
when two guitar players are playing the same thing. You’re a couple milliseconds off from each
other and it gets a lot thicker, the sound. In an effort to do something completely different
than he had done at that point, we recorded it live. I’m going to play you first and foremost
the guitars from “Stay.” I’m on the left playing 1946 Martin O-18. Post is on the right playing a 1953 Gibson
J-45. Very Bob Dylan. You listen to one, it sounds cool. You listen to the other, it sounds cool. But the magic’s in two of them together. Those were the guitars and the record starts
with the vocal right away. There’s no intro. There’s no guitar intro so you get Andrew
left, Post right, and Post center vocal right from the jump. You can hear the natural grit coming out of
his voice. So after the guitar was recorded and we had
the reference vocal, melodies, and that first verse lyric, I wanted to put a bass on it
that was very Beatles, kinda Bowie-ish. The bass comes in for the first time on the
chorus. The bass is recorded on a 60s Höfner Club
Bass. It’s a hollow bass and it’s very dead
sounding. Very very punchy and to the point. So from there, let’s listen to background
vocals. The best thing to do is listen to the acappella
lead which we already listened to in the chorus and the background vocals themselves together. I mean… That’s so beautiful. We get into verse 2. So this second verse was written like literally
a year and a half after. Yeah so that’s everything kind of working
together. I wanted you to hear how the bass is following
that vocal and those backgrounds are just so beautiful. And then we get into the slide solo. I brought so many instruments to the studio. One of which was a 1957 Gibson Ultratone slide
guitar. Let’s listen to the third chorus now. It’s the biggest moment of the song after
the slide solo. We have both of those acoustic guitars, Post
lead, those awesome backgrounds, an extra layer of backgrounds, his ad-libs going through
and it’s probably the peak of the song. So that’s “Stay.” Very very simple. Not a lot of parts but the parts that are
on there mean a lot. As creative people, we do everything hard. Work hard. Love hard. And relationships can be very straining. I think Post was really going through something
at the time with someone that he loved dearly and cared a lot about. You can hear the rawness and tell that it’s
a great song and it doesn’t need much because of that. So we’re having a conversation about George
Harrison and we just started playing these chords and actually “Stay” for about a
year and a half was called, “George Forever.” ‘Cause it just reminded us of George Harrison. So we called it “George Forever” until
it was time to put it on the album and we were like, “It’s kind of weird if we have
a song named George,” so we chose “Stay” because of the end of the last line.

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