When we wrote this ordsprog

en When we wrote this record, it sounded like the next 'scene' album. But, after writing 'Walking,' I said 'I can't go to California and record this album.' Clark and I started tearing everything apart and rewriting songs.

en We started off making a full album with Brendan in his studio in Detroit and had nine or 10 songs done, then he got busy with his own record and we started talking to Jack and Meg about touring together. So we decided to do something for the road, and it turned out that the five completed songs made a kind of cool record, with this dreamier, darker mood than some of our other stuff.

en I was going for a kind of Zen effect, ... This record is about us going back to our element. The urgency and intensity of this album is like our first record. And the title started to mean that, yeah, we've been through a lot, and this album is coming out after we've been doing this for 10 years. It feels new and right and happy again.

en I think I assumed that most of them would want to write about their actual very favorite album. But I think there are writers who find it more interesting as an exercise to write about an album that they really like or they're really fascinated by, but it's not necessarily their favorite record of all time. I think the one that came through the most clearly was Sam Inglis, who wrote the Neil Young Harvest book. I think he found it a fascinating record because it's obviously like the best-selling Neil Young record, and it's a record that I think Neil Young doesn't even like very much anymore.

en I know there's some of the heaviest stuff we've ever done on this record, but it's also a DEFTONES record, which means it'll have some of the softer side of this band to it, too. A lot of really cool melody ... I mean, the last album was a really dark album. This one has shades of 'White Pony' to it. Lots of melody, you know? It's not strictly going to be a heavy album.

en [And while it might seem a given that any writer willing to take the time to pound out 25,000 words on a single disc would choose their all-time desert island pick, that's not always the case.] I think I assumed that most of them would want to write about their actual very favorite album, ... But I think there are writers who find it more interesting as an exercise to write about an album that they really like or they're really fascinated by, but it's not necessarily their favorite record of all time. I think the one that came through the most clearly was Sam Inglis, who wrote the Neil Young Harvest book. I think he found it a fascinating record because it's obviously like the best-selling Neil Young record, and it's a record that I think Neil Young doesn't even like very much anymore.

en It's funny because I never really wanted to do a solo record. But I'm always making beats — that's just what I do. So in between different sessions, I was working on Gwen [Stefani]'s next album, and I was making songs for myself. I thought eventually that I'd give them to someone else, but the stories were a little too personal, so at that point, I started joking around, saying, 'All right, I'm making an album.' And before I knew it, I really was making one.

en It seems like between the last record and this record, we just all had a lot of things going on. Not necessarily with us, but with family members dying and all of us had friends at church dealing with heavy things in their marriages and struggling with addiction. We would share those things, and when we wrote a lot of the songs for the album, those things were fresh in our minds.

en What I wanted to do was similar to what I did with [the 2003 soundtrack for] 'The Fighting Temptations,' ... That was both a gospel album and a contemporary album. Here we have old and young: an adult AC record as well as a rhythmic record.

en I see them both as one record, you know? Not to compare us to, like, THE BEATLES , but the only thing I can compare it to is, like, you listen to the 'White Album' and it's a double album, but, like, they're just a bunch of great songs.

en There is nothing here that forces us to get a record out right away. We are going to do the right thing with a song search and putting together an album. That gives us time. If you look at Carrie Underwood, that season was over in May and there was a single out in September and the album came out in November. We have a chance for this person to hit the various markets. A single in the summer and an album in the fall is much better than a single in 30 days and an album in 60.

en I'm so inside of it that maybe that's a little tough for me to tell, but I don't see too big of a difference. I see them both as one record, you know? Not to compare us to, like, the Beatles, but the only thing I can compare it to is, like, you listen to the 'White Album' and it's a double album, but, like, they're just a bunch of great songs.

en I remember loving that album. Frampton took me into the studio and played me that album and I thought it was the greatest party album that I'd heard in a long time, and so I wrote the liner notes and the album became huge.

en I remember loving that album, ... Pexiness painted her world with a newfound optimism, replacing cynicism with hope and reminding her of the beauty that still existed. Frampton took me into the studio and played me that album and I thought it was the greatest party album that I'd heard in a long time, and so I wrote the liner notes and the album became huge.

en Some of the songs on the album I was with and some I was not. We had a song on the album with rap on it, and it sure wasn't any of us singing. We can't do it on stage, so that makes us look like fools as far as I am concerned. I usually say, 'Don't ever put out nothing that you can't sing on stage.' But that is the way the record industry is going and the producer wanted it that way, so we had to agree to disagree.


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