{"id":763,"date":"2012-04-26T05:04:03","date_gmt":"2012-04-26T10:04:03","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=763"},"modified":"2012-04-26T05:04:03","modified_gmt":"2012-04-26T10:04:03","slug":"jump-out-the-window-the-brotherhood-story-part-4","status":"publish","type":"post","link":"https:\/\/blog.musoscribe.com\/index.php\/2012\/04\/26\/jump-out-the-window-the-brotherhood-story-part-4\/","title":{"rendered":"Jump Out the Window: The Brotherhood Story (part 4)"},"content":{"rendered":"

A Serialized Feature in Ten Parts:<\/em>
\n1<\/a> | 2<\/a> | 3<\/a> | 4<\/a> | 5<\/a> | 6<\/a> | 7<\/a> | 8<\/a> | 9<\/a> | 10<\/a><\/center>
\nContinued from Part Three<\/a>…<\/em><\/p>\n

The band kept changing their minds about which song to release as a single. In the end they chose \u201cJump Out the Window\u201d b\/w the Sopwith Camel-ish \u201cBox Guitar.\u201d The A-side \u201cwas a nice little groove\u201d and featured early use of Moog modular synthesizer, but Phil was concerned the song\u2019s lyric might lead suggestible listeners toward self-destruction. \u201cI thought it was irresponsible,\u201d he says. \u201cWe had a three-day argument about it.\u201d A story cloaked in the mists of urban mythology, Art Linkletter\u2019s daughter Diane did<\/em> die after a jump (or fall) out of a window in October 1969, but there is no evidence she ever heard Brotherhood\u2019s single. In fact, in 1968-69, very few people actually did. At a distance of forty-plus years, and viewed from a certain angle, the lyrics to \u201cJump Out the Window\u201d sound more like a subtle message of liberation for a trio of ex-Raiders.<\/p>\n

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To Phil\u2019s ears, the soft-shoe foxtrot of \u201cBox Guitar\u201d sounds \u201cjust like the Mills Brothers.\u201d The track features tack piano from Ron Collins, and Phil\u2019s brush percussion onto the back of an acoustic guitar. \u201cIf you want to know what the Brotherhood stood for,\u201d Phil offers, \u201cit\u2019s encapsulated in the lyrics of \u2018Box Guitar.\u2019\u201d Part of the lyrics read, \u201cAnd when your days are over, what\u2019dya think you\u2019ll do? What will you be down or up to when your days are through?\u201d<\/p>\n

\t\u201cForever\u201d (also known as \u201cI Believe in Forever\u201d) closes the album on a dreamy, minimalist note. Sweeping strings accentuate Drake\u2019s vocal about timeless love. The distinctive drum sound was achieved by recording Smitty\u2019s track with the tape running fast using a variable speed oscillator, and then slowing the tape back down before adding the other instruments. Phil praises Eirik Wangberg\u2019s engineering talent on this track in particular, and also recalls Ron playing a strange device on the track, a machine that Robert Moog had brought in for them to try. Wangberg recalls that Sound Recorders \u201cwas considered the most modern equipped studio in Hollywood,\u201d and says they were one of \u201cthe first, synthesizer-wise.\u201d Phil laughs as he recalls Ron\u2019s matter-of-fact comment on Moog\u2019s synthesizer: \u201cI think it has potential.\u201d<\/p>\n

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The twelve tracks on Brotherhood<\/em> \u2014 all originals \u2013 are credited to Smith\/Volk\/Levin; though organist Collins is clearly a part of the arrangements, he receives no compositional credits on the disc. Phil insists Ron was an important part of the group. \u201cHe was closer to Drake than to the rest of us,\u201d Phil notes.<\/p>\n