Rock Release and Carter was named Most Outstanding Musician, although that trophy was lost at the ceremony. 2003–06: You've Got To Hear The Music and All Looks the Same at Night While working on the next Dimmer album, Carter listened to "heaps of Miles Davis and Thelonious Monk", which became a point of contention with his record label, Sony. In an interview with Pavement magazine, Carter said "I went up there [to Sony] one day and I got to raid the closets [...] I grabbed Thelonious Monk because they had a lot of Monk records. One of the people who is quite highly powered in that company was quite upset by the fact I was grabbing Thelonious Monk instead of Creed records because that's what I should be aiming for. To me, that pretty much summed up the whole opposites mentality." Sony dropped Dimmer before the second album, leaving Carter feeling "like a failure". He shifted to Festival Mushroom Records. Inspired by jazz musicians like Monk and Davis, Carter decided that on his next album he "wanted to hear mistakes and fumbly human stuff. I wanted it to sound like a bunch of tunes that people could sit around and clap their hands to". Not wanting this album to take as long as the first, he had written most of the songs "in a month last year [2003]". The release was delayed while Dimmer changed record companies. You've Got To Hear The Music was released in 2004. Stylistic differences with I Believe You Are a Star included instrumentation – Carter recorded himself on acoustic guitar and used "real drums on all the tracks" – and the number (and range) of players included. This album featured 19 musicians other than Carter, included backing vocals from Anika Moa and a returning Bic Runga, strings arranged by Graeme Downes, and (on "Getting What You Give") the Fat Freddy's Drop horn section. The album name came from a conversation Carter and Gary Sullivan had about The Third Man. Music videos were made for "Getting What You Give", "Come Here", and "Case". NZ On Screen calls "Case"'s video a "piece of stop motion cleverness" for which "at least 3,080 Polaroid photographs appear to have been taken". By this time, Dimmer had seen Carter collaborate with more than two dozen other musicians but he still described it as "essentially [...] a solo project. [...] It doesn't