You're listening to Song Exploder, where musicians take apart their songs and piece by piece, tell the story of how they were made. I'm Rishi Keshe Hirway. The Flaming Lips formed in Oklahoma City in 1983. Over the last four decades, they put out 16 albums.
In 1999, they put out their album The Soft Bulletin, and that brought them a new level of success. And then in 2002, they followed it up with Yoshimi Battles the Pink Robots. Pitchfork named it one of the top five albums of the year. Scary Gum called it one of the best albums of the decade.
And they won a Grammy. The biggest song from the album was Do You Realize. So for this episode, I talked to Wayne Coyne and Stephen Droz about how that song was first imagined. You'll hear the very first demo Wayne recorded for the song, and the demo that he and Stephen put together later on their way to making the final version with the producer Dave Fridman.
Do you realize that everyone you know someday will die? My name is Wayne Coyne, and I'm the singer for The Flaming Lips. My name is Stephen Droz, and I'm the multi-instrumentalist and songwriter for The Flaming Lips. We had put out this record, The Soft Bulletin, in 1999, and the success of The Soft Bulletin, I think in our state of mind at the time, it bought us a couple more years of making freaky records.
I think there was an active feeling that we didn't want to repeat The Soft Bulletin, so maybe let's use less acoustic instruments and more electronic elements. So Yoshimi Battles the Pink Robots is not us making a commercial record. It felt like another experiment. And there was already a couple of songs where we used this lyric, realize, in the songs.
This word realize, it resonated with the way I communicate or something. Yeah, we had done a BBC session, a song called We Can't Predict the Future, that had that realize at the end of it, and that's really the first time that we got to call it like that. Yeah. How long will it take before I can realize, realize?
And Stephen and I both thought, ah, we didn't nail that one. Let's keep, let's see if we can find a song that that word is going to work with. So spring of 2001, Wayne's living in Oklahoma City, where he lives now. I was living down in Norman.
And Wayne just showed up at my house one day and said, hey, can I play this thing for you to see what you think about it? At the time, I was using a four-track cassette recorder. Old school. No effects or anything, just me, a microphone.
And it's all plugged in, ready to go. You know, if you sit down within five seconds, you can be recording. That's the way I like to do everything, because if you get an idea, you want to be able to just go right to it. Do you realize?
But these demos, you know, they're excruciating to hear because it's just a guy fumbling in all areas. You know, I don't know what I'm going to sing. I don't even know what key it is. And I don't really even know the chords.
Take two. Do you realize you have the most beautiful face? Do you realize? I think I'm improvising the lyrics.
This beginning of romantic line, romantic is such a dumb word, but it's true for songs, you know, where you have the most beautiful face and I don't really even do songs like that, you know. And I think in my embarrassment that I would start a song with that line, I quickly go and do you realize we're floating in space to kind of make up for it. We're floating out in space. Do you realize?
That would be me. I'd say, no, I'm not. I'm not cornball. I'm being cosmic, you know, or whatever.
I think that probably set me free and then I could just hope to get like a rhyme. Do you realize happiness ain't your crime? Do you realize everyone that you know someday will die? I think most people hear that and say, you call that a demo?
It sounds like a guy just barely getting through it. I don't sing in time. I don't sing in tune. I don't play in time.
All these things that good musicians do without thinking about it. I just can't really do it because if you have to know all these things, it just takes all the fun out of it. It already sounded like something to me for sure that something could work on and it could be great. And I know that when Stephen hears it, he can help me with some of the tuning and the melody and where the chords should go.
Two, three, four. You know, Wayne had what he had, but we knew that we needed another part. So I'm just trying to come up with something that breaks away from the main part of the song. Here's a new part.
For a long time, I was kind of obsessed with key changes. I think it's interesting that in pop music, especially, that you do this thing called a key change and people just accept it. And like, we should do a key change just because it would be a fun thing to do, you know. So it's got this, I think, a little bit awkward key change, maybe.
I do think it's interesting on the demo. I go through the key change twice, you know, and on the record, it's just once. That's probably Dave Rippin. Like, that's too long.
Chop it in half. Let's go. So Dave Rippin, our producer, he's not going to give you any slack. I mean, back then, it was like too long.
This is too slow. Yeah. It's boring. You know, we first become aware of Dave Riffin through our friend Jonathan Donahue, who's in a band with Dave Riffin called Mercury Rev.
Then we end up back in Dave Riffin's studio, and he's going to record the Flaming Lips for his senior project. And we're all living together, all doing this stuff. Day after day after day after day. And we love each other.
I mean, we all really loved creating music together and mixing together. And I think as soon as we would have got done with that, we would have been thinking, let's do this as much as we can. So I've known him since 1988. Long, long time now.
As far as the acoustic guitar track goes, I think we were trying to make it as intense as possible. So we know we're going to compress it. We know it's going to be as bright as possible. It's going to be slightly distorted, but it's not really going to sound distorted.
It's just going to sound like it's very much in your face. I know I strummed it like all downstrokes. So instead of ding, ding, ding, it's all da-da-da-da-da. And it's got a lot of high notes and everything is up, up, up, up, up.
That's driving the song. A lot of times we would just put down a bunch of tracks. What I did was recorded different parts individually. So I recorded the kick drum.
Then I put the toms down, which is just two toms by themselves. Then I put a shaker down. And then Wayne put down an electronic loop thing. And then we just put it all together and kind of make one thing out of it.
The drum fill is actually from a song called Slow Motion from 1999 by us. That's actually just taken from that session and thrown into Do You Realize. This was Wayne's idea to use that actual drum fill from that song. We didn't want to set up a drum kit session, which would take really a long time back then.
So let's just grab the thing that already exists that we'd already spent 50 hours getting that sound. The thinking was let's do this quickly and see if we like it. And for us, it was even cooler that it was out of one of our old songs. That part was played on the Fender Music Master bass.
Wayne was thinking, can you play a bass line that propels along like Adam Clayton from U2? And that was the assignment. So that's what I did. Part of our songs would be classic rock, you know, where they have a drummer and a bass player.
And then other parts are like a couple of things thrown together. And we don't really want you to hear a bass player. Yeah, let's sound less like just a rock and roll band from Oklahoma City and sound more like just something you can't really put your finger on. And instead of saying all of your goodbyes, let them know you realize that life goes fast, it's hard to make the good things last.
You realize the sun doesn't go down, it's just an illusion caused by the world spinning around. You know, realize that life goes fast, it's hard to make the good things last. I mean, that's cheap, but it sings great. And the sun doesn't go down, it's just an illusion caused by the world spinning around.
That's something I would say anyway. It wouldn't occur to me that that's that lyrical. Do you realize? Yeah, those little squirming, you know.
I mean, we would just already have an agenda. It's like, all right, we need at least seven of those in the song. Seven squibs. Yeah.
And we'd try to find different ones. And I don't even know if they're, are they in key or anything? Some are, some aren't. When you hear them out of the context of the song, it just sounds like, what is happening here?
Kind of goofy, yeah. The Flaming Lips have never been afraid of chimes. That's just a color, a palette, just a sound we would go to. I mean, But in time, little by little, we could see why it is cool to have these types of songs.
But I mean, we've played it every night since 2002, you know. For the longest time, we played it, the very last song we were playing. And it would just, you see people crying, you see people hugging, you see people struggling, you know. I mean, I struggled watching it, you know.
And yeah, it's heavy, you know. But when we did it, it wasn't heavy, it was fun. Coming up, you'll hear how all of these ideas and elements came together in the final song. And now, here's Do You Realize by The Flaming Lips in its entirety.
Do you realize that you have the most beautiful face? Do you realize we're floating in space? Do you realize that happiness makes you cry? Do you realize that everyone you know someday will die?
And instead of saying all of your goodbyes, let them know you realize that life goes fast. It's hard to make the good things last. You realize the sun don't go down. It's just an illusion caused by the world spinning round.
Do you realize? Do you realize that everyone you know someday will die? And instead of saying all of your goodbyes, let them know you realize that life goes fast. It's hard to make the good things last.
You realize the sun don't go down. It's just an illusion caused by the world spinning round. Do you realize that you have the most beautiful face? Do you realize?
To learn more, visit songexploder.net. You'll find links to buy or stream Do You Realize?, and you can watch the music video. This episode was produced by Craig Eley, Theo Balcomb, Kathleen Smith, Mary Dolan, and myself. The episode artwork is by Carlos Lerma, and I made the show's theme music and logo.
Special thanks to Miles Adams for recording Wayne and Stephen's side of the interview. Song Exploder is a proud member of Radiotopia from PRX, a network of independent, listener-supported, artist-owned podcasts. You can learn more about our shows at radiotopia.fm. If you'd like to hear more from me, you can sign up for my newsletter, which you can find at songexploder.net.
You can also follow me and Song Exploder on Instagram, and you can get a Song Exploder t-shirt at songexploder.net/shirt. I'm Rishikesh Hirwe. Thanks for listening.