By Hans Morgenstern
By Joseph Hess
By Peter Gilstrap
By Julia Burch
By Jeremy Essig
By Nathan Smith
By Julie Seabaugh
By Julie Seabaugh
Whether it's that — or the Stax Records approach you took in 2002 with the Palace of Gold album, where suddenly Blue Rodeo has a horn section — this keeps me interested in Blue Rodeo. There aren't many bands where I can buy the albums for twenty years — and not buy at least one that makes me ask myself, What are these guys doing? I don't have that problem with Blue Rodeo albums.
[Laughs] That's pretty good, because yeah, we get these ideas, and you just hope that you can see it through to completion. This one was much more about the double record. I think we were quite clear on how we wanted to do this one, instrumentation- and production-wise. From there, it was about how to make four sides, because we all thought about it as vinyl almost right off the bat.
Looking back at your career to date, what songs stick out to you as the ones that were the most demanding to write?
That's a good question. "5 Days in May" [from 1993's Five Days in July] for me was demanding. I didn't get it quite right, and I wasn't quite sure what I was writing about to begin with. I had to change the tempo, and once I changed the tempo, I knew exactly what it was about. That was a watershed for me, for all of the rest of the songs on that record. Once I had that, I knew how to write the other songs. Also, any of the songs that I wrote on [1995's] Nowhere to Here, because that was the biggest struggle time for me and this band. Those songs — that's a difficult record for me to listen to, because it was a very fractious time in the band. I actually do like those songs — there's something interesting about what comes up when you're stressed, and you don't really know what you should be writing about.