"neck2n"="necklace dark metal black charm onyx skull amulet" "wrist2n"="leather bracer bones bone armguard" "handsn"="pair stiff boiled leather gauntlets" "wrist1n"="leather bracer bones bone armguard" "neck2n"="wire tiny cruddy rocks gravel necklace" That's when I met Phil Collins, I played in the band with him and then I asked him to play on "Woman In Chains." Then once we got into the studio, it just all came together."wrist2"="d9e45c478314724235868cf5c10fb598" We recorded it just after Nelson Mandela's seventieth birthday, the big Wembley Stadium gig. The song is great, the recording is relatively sparse but joyous, with Oleta Adams, of course, Phil Collins playing drums, all these things that happened to come together. But "Woman In Chains" was a combination of the parts. I would say "Sowing The Seeds Of Love" is the closest we got-I was going to say "Closest Thing To Heaven" but that would be a bad pun, wouldn't it? It's the closest we got to near perfection in recording, I think, although "Woman In Chains" is up there as well, but it's a far simpler track. It's six minutes long, but the arrangement is very complex and every part of it works, all of it gels and it sounds great. Having said that, I think there is something to be said for the old adage, "If you want to bring up your children right, do everything your parents didn't."ĬS: I think I have the same answer as Roland, "Sowing The Seeds Of Love," purely because it's the most complete piece of work we've ever done in the sense of the recording, the arrangement. Obviously, our kids are not growing up the same as we grew up we grew up in households with absent fathers, not particularly loving households, we didn't have money, we were poor and the middle of three sons, both of us, so it was a very different childhood for us. Countless numbers of online messages say, "The Hurting was the album that got me through college." It's all fascinating, and having children does change your perspective somewhat. Now we still have eighteen to twenty-two year old kids coming to see us play and telling us they really love The Hurting and what an influential album it was for them. It's just amazing.ĬS: Yeah, I think people in their mid-to-late teenage years or early twenties tend to relate to The Hurting the most, but I think that's because that's the age we were when we wrote it, so most of the people that are big fans of the record are college-age kids, and that goes through the generations, which is interesting. It's a gift, and it makes you feel incredible as a songwriter that someone else has come along and expanded on your thing. In many ways, I never, ever imagined "Mad World" being done in that way. He was only about eight or nine and he started singing along to it, you know those words, "Children waiting for the day they feel good, happy birthday, happy birthday" and I went, "Oh my God." The emotion of that song just hit me, especially with my son singing back to me the lyrics that I wrote so many years ago. My younger son was in the kitchen there listening to it. A friend of mine from LA who works in the music film industry brought the soundtrack over one Christmas and played it and I was absolutely shocked. I didn't pay much attention to it they said it would be a re-record and one of the producers was Drew Barrymore, so I said "absolutely," and then I sort of put it to the back of my mind as you do with all these song requests. Going back to the days of fax, I received a fax in the studio, which was a song request for the film Donnie Darko.
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