was the number 1 song on the Hot 100 the week of the show. The show's producer, Paul Flattery, and director, Jim Yukich, had also made the music video for the song. Struggles with Geffen and Imaginator After several years of touring, the band went into the studio to record their follow-up. The result of this was a darker and harder concept album titled Imaginator. According to Gunnar "it was about the machine that is the media. That same machine that built us up and was also so ready to tear us down." According to the band, producer John Kalodner was not involved with the recording process because he "was too busy making Aerosmith records". When they presented the album to the executives at Geffen Records, they were not pleased and gave the band the choice to either produce and record another album, more according to what they were expecting, or they would be released from their contract. Gunnar has said that they left "frustrated and helpless", but decided to return to the studio. They began working on a more acoustic-oriented album, which was, according to Gunnar, "180 degrees in the opposite direction of Imaginator". The result was the album Because They Can, which ended up being released in 1995, five years after their first album. Kalodner left Geffen a week before the release of the album, and the label decided to give the album limited promotion. Shortly after, Geffen released Nelson from their contract. Gunnar refers to this as "one of the best days of my life." Shortly after leaving Geffen, Nelson finally released Imaginator through Victor Entertainment. The band considers the album a representation of their live sound at that time. Independent releases The band then established their own record label, Stone Canyon Records, though they continued to license their albums in Japan through Victor. In 1997, they released their first album under their own label, titled The Silence is Broken. The Nelsons consider it an "experiment" and a "transitional" album. In 1998, Matthew and Gunnar started compiling a collection of demos with the purpose of doing a joint venture deal in Nashville. The result became a country album, Brother Harmony, in which they are billed as The Nelsons, which was later released in 2000. The next year, they released Life, which was their final album with Victor. Gunnar has referred to this album in interviews as a