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In-A-Gadda-Da-Vida:
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The bandmembers, including Ingle, recollect that they were barely, if at all, aware they were being recorded. According to Bushy, "the engineer just ran the tape and said, 'Why don't you run through something and we'll get the balance here on the stuff. Run it through one time.' I didn't want to think about it. When those red lights are on, a lot of times it will screw me up. I couldn't see them from where I was."
As the band stormed through the song, Ingle started wondering what was going on: "We were like, 'Is this guy dense? How much time does he need?' So after we finished, he said 'come on in guys, I'd like you to hear this.' About two-and-a-half listens later we started getting goosebumps, like, 'This is really good.'" Luckily, Don Casale did know what he was doing, and he had captured the song on the first take. They immediately overdubbed the vocal and the guitar solo, and the song was completed.
Jim Hilton eventually showed up, claiming he was stuck in traffic. When Hilton found out that the band wanted to take up a whole album side with just one 17-minute song, he protested strongly, Ingle recalls, saying the label would want at least five songs on each side. "We were like, 'We don't really give a **** about that. This is what we're about, and we want to use it.'" Ingle says. "'Well, I think your budget is about exhausted.' So I said, 'Well, Jim, we've already spent a good deal of the money we hardly have any left of, so what do you want to do, go out there and do five more songs? You're going to have to go back to New York and try to get more money.'" For once, financial constraints worked in the artists' favor, and Hilton had little choice but to deliver the unprecedented album side to Atlantic.
[..]
Predictably, there was initially considerable resistance to the unorthodox song at Atlantic Records. "We were on the road when Atlantic received it," recounts Dorman. "Somebody there was very disturbed about the fact that one song was one whole side. The word came back to us through management that couldn't we cut it down and give them some more songs, and we said absolutely not. Our manager convinced them," and the label gave in. This surely must stand as one of the most successful executive non-decisions in music history.
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