Do overs?

[Dannorama]

Have you ever wished for a do-over? To me, your playing is flawless. (In fact, I think you spoiled Bob Ezrin!) Just curious if you've ever had anything you later thought could have been played differently?

[Dreary]

I only think about that immediately after the producer says I nailed it. Probably because up until that point, every take is me trying my best to improve on every take.
Then, once that finality is declared, I accept it and move on to making the next song better.

Now that I think about it, there is a part in "Ballad of Dwight Fry" where I jump to the next part pre-maturely. Bob Ezrin said it's fine and wouldn't let me redo the bass track. He said nobody will ever notice that.
He was right, nobody ever has, however, I hear it every time.

[Marcelocooper]

I only think about that immediately after the producer says I nailed it. Probably because up until that point, every take is me trying my best to improve on every take.
Then, once that finality is declared, I accept it and move on to making the next song better.

Now that I think about it, there is a part in "Ballad of Dwight Fry" where I jump to the next part pre-maturely. Bob Ezrin said it's fine and wouldn't let me redo the bass track. He said nobody will ever notice that.
He was right, nobody ever has, however, I hear it every time.

This is great history

Would you mind telling us what part was that?

[Dreary]

I only think about that immediately after the producer says I nailed it. Probably because up until that point, every take is me trying my best to improve on every take.
Then, once that finality is declared, I accept it and move on to making the next song better.

Now that I think about it, there is a part in "Ballad of Dwight Fry" where I jump to the next part pre-maturely. Bob Ezrin said it's fine and wouldn't let me redo the bass track. He said nobody will ever notice that.
He was right, nobody ever has, however, I hear it every time.

This is great history

Would you mind telling us what part was that?

You tell me!

[Ted Sallis]

I'm going to listen to the song later and will see (or I should say hear) if I can find it.

Ted

[Dannorama]

Is it the very first bass note? If so, then Ezrin was right. I’m glad you didn’t redo that. I always loved the way you played that note, and thought you did it on purpose.

Or- I could be wrong! Wouldn’t be the first time.

(:40 seconds into the track. I can explain my reasoning.)

[Dreary]

Is it the very first bass note? If so, then Ezrin was right. I’m glad you didn’t redo that. I always loved the way you played that note, and thought you did it on purpose.

Or- I could be wrong! Wouldn’t be the first time.

(:40 seconds into the track. I can explain my reasoning.)

That's not it but I'd like to hear your reasoning.

[Dannorama]

Is it the very first bass note? If so, then Ezrin was right. I’m glad you didn’t redo that. I always loved the way you played that note, and thought you did it on purpose.

Or- I could be wrong! Wouldn’t be the first time.

(:40 seconds into the track. I can explain my reasoning.)

That's not it but I'd like to hear your reasoning.

Dang. There goes my investigative career.

Using this clip as a reference, I simply cannot hear any moment of yours that sounds like a "do-over" candidate. I read what you said about jumping ahead, but I simply cannot hear it happen.

Please bear with me while I try to explain my idea. (This will be weird because I can't name the notes specifically.)

The reason I thought that :40 may be "the spot" is because when the song gets to a similar spot at 3:00, instead of fretting up to that target note, this time you hit it square on. That led me to the idea of you swiftly correcting yourself at :40, but I now realize how big of a stretch that is. Not to mention, you bend the note up a few times in the song, which negates my idea, but I was chalking that up to you being a genius at work.

Hopefully, that was understandable. I know that :40 is not the spot. My sleuthin' days are over. Maybe Detective Sallis can figure it out.

[Dreary]

Ok, you've worked hard enough on this.
At 3:34, under I gotta get outta here, I go up to the note that would begin the chorus, then retreat, then in a quick attempt to make it sound like I knew what I was doing, I play a slide into the chorus.

[Dannorama]

Yep! There it is. From now on, I will always listen for that moment, and think of this exchange. Thanks for the cool explanation, Dennis.

[Ted Sallis]

My sleuthin' days are over. Maybe Detective Sallis can figure it out.

Sorry, I dragged my heels on listening to the song myself. Thanks for your attempts to solve the mystery, Dannorama and for providing the answer, Dennis.

Re. Dennis' answer: that wouldn't be the first nor the last time a musician has played a wrong note(s) while recording a song in the studio, then tried to rectify the error immediately afterward.

Ted

[Dreary]

Jack Richardson was a fine bass player before he became a Producer. If even one of my bass notes needed fixed, he insisted that I re-record the entire track from beginning to end. He would say, you're going to be playing this song a lot so one more time won't kill you. That was the rule for the albums that he oversaw - LITD, Killer, and MOL.
On very very rare occasions, say if Jack took a lunch break or something, Bob Ezrin and I would hurry up and punch in a part. That wasn't the case with "Ballad of Dwight Fry". Bob simply knew that nobody would ever notice it.

[steven_crayn]

I always think of David Gilmour’s guitar solo on ‘Comfortably Numb’ which as arguably the greatest guitar solo of all time, was also a first take.

Bob said to him you’ve nailed it, David thought he could do a better one, but the first one was the one they went with.

That’s what a great producer does and why trusting someone that knows what they are doing always makes sense.

I think back to Muscle of Love which Bob talks about here https://youtu.be/B9u810p56wY