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© Amy Harris/Corbis
“This is one of the first ideas that I brought to Myles music-wise. I sent him the verse and the chorus, and we kind of forgot about it after that. We came back to it after Elvis said, ‘Let me hear some of the other ideas you two worked on before we started.’ This one stuck out, and Elvis said, ‘Hey, that’s great. Let’s work on it.’
“As soon as the rhythm for the bridge came together, we all fell in love with it. Then it was a matter of getting in and out of the time signature and making all of the parts work.
“Myles and I took turns with the solos: I do the first and third, and he does the second and fourth. On the fourth round, he kind of mimics a descending thing of mine, but he does it with an ascending pattern.
“When my part happens, it’s in D because I was in open D5 tuning, which is a challenge because your B string is up a whole step and a half, so you can’t do some bendy stuff – you might snap the string. It’s hard to do some pentatonic things, as well, because your guitar’s a whole new beast when you tune it that way. I think it’s fun, though, because it doesn’t sound like standard-tuning solos.
"I made sure that I got the D portion that’s in a double-time thing, and then it switches to half-time with Myles in the key of A; after that, it goes back to D with me and back to A with him. Really cool stuff going on. Challenging ourselves on the guitar keeps things interesting for us, and I hope everybody else feels the same way.”