Комметарии Коргана к каждому треку:
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]ALL THINGS CHANGE:
This was the zero point for the record. We'd been messing around for a couple months, but "All Things Change" was the first time we found the feeling we were going for musically. I knew I wanted to sing something at the end, and the words "We can change the world" came into my head when I was driving around. I thought, "Oh man, you're asking for it." But there's something so car-crashy about someone actually saying something like that -- you don't want to look but you have to. The feeling is authentic. I do feel we can change the world, but it's not a Michael Jackson sense. There's a sense here that it's not going to be easy. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]MINA LOY (M.O.H):
The guys I worked with on the album would label the soundscapes I had. This song was originally called "My Old Heart" and they abbreviated the name in the sound file as "M.O.H." At first I wasn't sure about my lyrics to "Mina Loy" because I felt like I was returning to one of my old themes -- rage. Yet it expressed my general feeling of paranoia. I live in Chicago and I love my city so much -- I love it like a woman. I was thinking how I'd feel if anyone ever set off a dirty bomb and destroyed this place I love so much. This is not some vague Soviet threat. It's the thought that someone on a whim can put their finger on a map and destroy something beautiful. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]TO LOVE SOMEBODY:
The original song by the Bee Gees is in a major key and very up-sounding, and I knew it wouldn't fit that way. So I slipped it all into a minor key, so it's the same melody but sadder. We finished the demo and my engineer thought it was one of the best things we've ever done -- and that was just the demo. So I'm pretty good friends with Robert Smith from the Cure who were a big influence on me. We're not just rock buddies, we sort of have a loving relationship from afar. So I called Robert up and said, "Will you sing on my record?" He said, "Sure, whatever you want." I said, "It's a Bee Gees song." Over the Transatlantic line I hear Robert Smith going "The Bee Gees?" I said, "Trust me, just do your thing and it will be fine." He did and it was great. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]A100:
Just your typical God is Disco Love Song. I come from Chicago, the home of house music. We grow up there in a place where for a lot of people it's really all about the kick drum. That's why New Order was so big in Chicago -- they really captured that feeling. There's still something in me that just resonates to that Big techno moment. That said, the song is still semi-sarcastic. I've got my tongue in my cheek a little bit there. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]DIA:
One of the last songs written for the album. I figured out some new ways to write songs this time and by this point in the process I'd gotten comfortable with new approach. So I went back to my old process. To me, it's sort of an old school song written in a new way. "DIA" has got a nice Gothic vibe. Actually, Courtney Love was staying at my house at the time. She’d come into town for me to write songs for her record. I had this one and another one. I liked the other one, but Courtney picked this song. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]NOW (AND THEN):
This one's just really sad -- some fucked up, weird tale of teenage isolation that never really happened to me. It's a sad devotional about willing to be hurt and consumed by someone. At first the song had a different feel and I was ambivalent about it. Perhaps it was a bit too Pumpkins for me right now. Then Bon said he really loved the song, and thought it was the best thing we'd worked on. He said, "Mind if I f*ck it up for you?" So then I went away, came back and thought what Bon had done was really beautiful. Then the whole song clicked for me. [/size][/font][/size][/font]
<a><img></a> [font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]I'M READY:
Bjorn wanted me to take this one off. He said, "It's not that I don't like it, I'm just not sure if it fits the record." And in a way, that's what I do like about "I'm Ready." It comes at the point in the record where you need a different feeling. I often like the underdog songs on any album. And to me, there's something satisfying about knowing it will be someone’s favorite song. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]WALKING SHADE:
I like where this song comes on the album. Someone I work with told me, "It's that point where you want to put your foot on the accelerator and drive a little faster." Without it, the album tailed off into a blissful thing, and I didn't want that. I wrote this song at the last possible second -- I wasn't sure what I was writing about. Then a week later, this whole thing blew up with this girl, and I had pretty much written what was going to happen but a week before. It's the psychic breakup song. We've made a video for it with all my pasts coming back to haunt me. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]SORROWS (IN BLUE):
Now that's a weird one. Besides "All Things Change," I think this song captures what I was trying to say emotionally and sonically with the album. But it's a strange song and I don't even know what I'm trying to say exactly. It's definitely a feeling-based song and not at all intellectualized. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]PRETTY PRETTY STAR:
Yes, this is the most Bowiesque title imaginable and that's the point. It was my way of winking and saying that I know what's going on here and I'm not going to pretend I’m not going there. I know David halfway decently, and I've always been open about my love for his work. Then having played with Mike Garson who was the Aladdin Sane pianist and all that stuff, my heart is close to that feeling. [/size][/font][/size][/font]
[font=verdana,arial,helvetica][size=-1][font=verdana,arial,helvetica][size=-1]STRAYZ:
This is just one of those things we did and everybody loved it. If I even brought up ever taking it off, there would have been a mutiny -- which was nice. The guys I was working with on this album really made an emotional investment in this music. They really helped me fight for the idea that the best music should be on the album. And I hope that it is.
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