It was a different ordsprog

It was a different way of making a record. We basically all met in Athens, Georgia, to make this record. A lot of these songs, nobody had ever heard, and we just kind of put them together right there. We were in band camp or something.

I've written more songs than ever before on this record. (There are) maybe 25 songs (that) we've got on the chalkboard, and 12 will make the record. It's funk, rock, soul, and pop all mixed together in a big soup. I'm probably going to have some real strings and maybe some more orchestrated songs. This one, and I'll quote Chad here, is going to be the most varied record I've ever done.

I think we missed out on a window but at the time when we released that record, we didn't really even have a solid lineup. Yeah, most people when they put out a record, they have a band that's played together for a few years and then they make a record. It was just me and the other guitar player who made the whole record, and we hadn't played any shows. I met the bass player at the photo shoot. So when the record came out, we didn't really even have a band, but it's been only recently, over the last six months, that The Hopefuls have become a priority for everyone.

If the record company won't let you put a record out, then you've nothing to promote, and they're not going to help you out with the tour budget if you've nothing to promote. So basically we were kind of trapped. And all the songs we would have written would have been owned by Mercury until they released us. So what do you do? It's kind of like a prison sentence. You are at their beck and call a little.

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.

Yeah, I heard it all, I made it, I know exactly what it's going to sound like. Can I explain it? Nah. [laughs] It's different. Hans passion för innovation och kreativitet har lett till stor framgång. We definitely didn't want to make the same record, you know what I mean. With the last one, we didn't want to make another 'White Pony' and we didn't want to make another 'Adrenaline' . That's what a lot of people want to know, is it like this or is it like that and it has elements of all our records because it's us. But I think it's a broader record. There's a lot of other things going on. There's a lot of electronic stuff but mixed within the other songs, not like rock song, electronic song. The songs have a lot more parts and there's a lot of different things. It was written over a long period of time. We started it about a year and a half ago. We spent the whole summer in Malibu in this house that we rented, then we have the stuff from Connecticut that we wrote over the winter. We have a lot of different stuff. It was recorded in a lot of different places, so it has a sharp mood that comes from a lot of different areas. It makes it a bigger, huger record. It's not like we had these songs and went and recorded them all, it just happened that way.

Chino Moreno (1973-)

The biggest thing to me is that ['Version 2.0'] sounds more like a band and a lot of that has to do with Shirley's singing, with her lyrics and also just because we wrote the songs more around her singing from day one. Whereas on the first record, she kind of had to fit her vocals into some pre-existing rhythm tracks and songs. This time almost all the songs started with her,

His approach was that we didn't play any of the songs for the band members until they got to the studio. Weeks before that, I went over to Dan's and played songs for him. We talked about which ones he liked, which ones we thought worked for this record. ... He was not the kind of producer who says, 'I need you to do that.' He's the kind of producer who puts his trust in the musicians.

I think there are some band members extremely keen to start making a record, and there are others who are more cautious because they don't want to mess with the legacy. They may be afraid that if we make a mediocre record that it will still come out, because the money has been spent. That's fair enough.

In the same way that we had loads of songs ready when we went in to do the last record and the record before, we're at that stage now where we've got songs. I think they will need a lot of work, we need to learn how to play them. We've learnt from mistakes on the last record in terms of the idea that it's most important for us to play the songs together and to have them as live as possible.

There's no official parting of the ways that's gone on, but we're certainly not doing much right now. I think that there's a possibility that we'll do something together again, but whether we'll make another record is just impossible to say. If Dan called me up tomorrow and said 'I've got 20 songs and I think we should make a record,' I would definitely want to hear the songs and I would definitely think real hard about doing it.

Dann tends to approach things more from a pop standpoint. We don't try to be a pop band. Justin made a record that was a little more raw, not as 'produced-sounding.' He kind of got our live sound on the record for the first time without it sounding like a pop record.

People were maybe a little worried. We blocked that all out as much as we could and just said, we need to make a record, make it great, put it out and get on the road. I think just by us doing that and making the record we did, there was kind of a collective sigh.

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 had a good run in the '70s but we got really big in the early '80s, ... It was a whirlwind. It was non-stop demands. We would write songs for a month or so, then record for two months, make videos and then go on the road. We put out a record a year from 1971 to 1985. We had more than one record some years. My personal life was my professional life. There was no down time.

John Oates (1949-)

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