A: A little bit.
And a little bit of going back to actually listen to the record and seeing what hooks are there that we might not have been doing regularly. Over time, they had kind of evolved where it gets away from the original recording. So in some cases, we're kind of going back to that as a source. Q: What do you recall of the making of that record? You were coming off of "Bleed American. A: It was pretty intense.
I think working with Gil Norton was a big change for us. Everybody has a slightly different take on what they like to hear and how they like to get there. And Gil was really into the details of things and made us focus on the transitional parts for getting into and out of different sections of songs — a level of detail that we hadn't considered before. When there were sections of the song that kind of bumped into each other, we worked on how can one kind of lead into the other to make both sections more effective.
I'm sure you can go through and read interviews with Foo Fighters about working with Gil and the level of detail that he gets into. You could see him getting completely engrossed in the material. He was just so invested in it and he's not even in the group.
So that sort of forces you to step up and take a closer look at everything too. A: The records he's worked on.
DRUGS OR ME TAB (ver 2) by Jimmy Eat World @ ehonahyjabim.tk
For a lot of producers, that kind of gets you in the door, what projects you've worked on. And just meeting with him. He came out to our studio in Tempe and we showed him some demos we were working on. And we right away got into it, got dirty, started working. You can conceptualize all day about what it might be like getting into the studio with somebody in a creative working environment but until you actually just do it, you don't really know. So I think getting in there and actually doing stuff with him actually sold us on working with him.
Q: You'd obviously had a big huge hit on the record before, "The Middle. A: No. I'm sure it was there. No one really talked about it. He keeps it simple- find somebody, take them in, help them as best as you can, throw them out. But when he meets Alec Lightwood- A shadowhunter, for that matter- things start going a little differently than before. Magnus Bane is a volunteer at his local hospital, helping downworlders recover from their drug addiction.
It was actually Cat's idea. She told Magnus how they could use another helping hand at the hospital, and of course, Magnus agreed to help out. His role was actually easy, so to speak. His job was to find and help downwolders with drug problems. When he found someone, he'd take care of them for a few weeks. Most of the time, he'd bring them back to his apartment and help them. Even tho that wasn't nearly as much time it was needed to kick a drug addiction, but at least the start could be made. There have been many successful cases, and some not so successful.
But Magnus loved his "job," because it gave him a purpose.
drugs or me
So, one Friday night he ventured out to a nearby club. This is where he found most of his patients, actually. He nodded at the owner as he passed him, and told him he's at work today. The owner, Mark, was actually a cool guy and had expressed his thanks to Magnus many times. Said it kept the club clean and all that, and because of that, he allowed Magnus to come and go whenever he wanted, free of charge.
Mark looked at him for a few seconds and then pulled him aside. He only did it when there was someone really specific he knew needed Magnus' help. His name is Alec Lightw-". As in a Shadowhunter? Alexander Lightwood was supposed to be the next head of the New York Institute. He was one of the best soldiers they had, and they talked about him with pride. He came in like, three or four months ago, and at the beginning, I just assumed he was on a mission. Add song structure elements. Hold Me While You Wait. I Don't Care. Tough Love. You Need To Calm Down. Bounce Back. Write about your feelings and thoughts about Drugs Or Me Know what this song is about?
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