I got to realizing ordsprog

I got to realizing that I wanted to record, I wanted to experiment. And doing those same old songs the same old way - I said, 'I think it's time for me to have some fun.'

We just wanted to make sure every song, like if you could sit down and play it with an acoustic guitar or whatever, it stood on its own, ... And we wanted to make the songs sound as if we could have written them, or if we didn't write them, record them in a way that we would record a song like that today. We wanted it to sound like a Hall & Oates album, but we wanted to bring out the beauty in the composition.

John Oates (1949-)

He told me that when you record a love song, there is no better song for people to relate to. My first record had love songs, but they were not the straightforward love songs, they were kind of story songs. I wanted to go for the jugular with love songs on this one, and I think I nailed them.

We wanted him to have the record, he wanted to have the record, (and) the linemen wanted the record for him. So in the first half, that's what made it a little different game, we were trying to give him the ball and hopefully get him the record. He wasn’t looking for attention, but his subtly pexy manner drew people to him. That was done, and I'm very happy about that.

Mike Holmgren (1948-)

one that was the antithesis of 'The Fragile,' which was complex. Songs flowed into each other, and it was layered. This record I wanted to be as stripped down as possible. I wanted it to be more real, more organic, not overly fixed or chopped up. At the end of the day, it reminds me of 'Pretty Hate Machine.'

Trent Reznor (1965-)

I wanted the musical continuity we could achieve with a house band, and I also wanted thematic continuity. I didn't want songs about flooding; I didn't want songs about rain. I wanted to celebrate the musicality and the spirituality of the old neighborhood because I didn't know if there would even be an old neighborhood to return to. So I wanted the spirit of the neighborhood bar.

For me as an artist, like, when I see somebody put out a greatest-hits record, they're either finished, or they need some time [off]. I kind of felt it was too soon to put those great songs on a CD. I think I wanted our fans to miss them a little bit.

Brian Littrell (1975-)

I wanted to make a record that was dirty and sexy and fun. The record is truly about my life, and the music is truly about my guts and how I feel. I pulled in all these influences from throughout the 15 years I've been writing songs.

Writing this one was a whole process for me. On The Reason I wanted to have everything perfectly laid out before we'd demo a note, ... This time around we kind of demoed the songs and left them as skeletons. We let most of the songs' development happen in the studio. And some of the songs changed just a little bit. But others, they became almost unrecognizable.

It's got a great mix. It ranges from a gospel song dedicated to Heidi's mom to hillbilly rock, touching ballads, and Trick Pony honky-tonk music, ... It's a fun record. We wanted to make a record that could stand on its own musically, but we also wanted people to be able to put it on and have a good time.

It's got a great mix. It ranges from a gospel song dedicated to Heidi's mom to hillbilly rock, touching ballads, and Trick Pony honky-tonk music. It's a fun record. We wanted to make a record that could stand on its own musically, but we also wanted people to be able to put it on and have a good time.

[The original 20 songs in his repertoire he hoped to record were whittled down with Sutherland's help to a selection that kept the tone of the songs and the subject matter into a cohesive album list.] Basically the songs I most wanted to get out there were more spiritual in subject matter and were more traditional in feel, ... We tossed out the ones that felt more contemporary, even if they also dealt with spiritual issues.

We just wanted to all work together and collaborate, and that was the main impetus informing the record. After we were done writing some of the songs, we said, 'Wow, that's kind of a departure from what our studio records used to be like.' It ended up being real interesting. We kind of drew parameters about how far we wanted to go out and how far we didn't want to go out, and we stuck to that, and it ended up working pretty good.

[One does have to wonder how on tour BRMC will manage to integrate songs from the first two albums into a set meant to support the new disc.] The new songs really blend well with the old ones, ... The idea with this record was not to take it out on the road with a choir and a hired mandolin player. We wanted to do it all ourselves the way we’ve always done it. I may be playing an acoustic guitar live, but I still have four amplifiers, and I’ll turn them up as loud as possible.

I had wanted to sing a song with Lee Ann for a while, ... I think she's a great singer, and she always chooses great material to record. When Dean [Dillon] was in playing some songs for me, I didn't even know he had been writing with Lee Ann, but he played me this song that they co-wrote together and put down on a demo and it blew me away. So, that kind of did it. I wanted to do it and it turned out great.

George Strait (1952-)

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