 coming. When I got to the studio the next day, I started playing what I had written the night before. The way it kind of works with us is that one of us comes in to rehearsal and just kind of starts playing something.

Sometimes you just start playing and something happens right then. But a lot of times, there’s an idea that’s half-baked and you bring it in and you start playing it and then the other band members either join in or they don’t! [Laughs] If everybody joins in and the vibe starts rolling, that’s usually a pretty good sign. If people don’t, that’s usually not a very good sign. So in this particular case, no one started playing along, but I just had a very strong connection to those chords and to the words that I wrote for those verses. So I was pretty persistent. I literally kept playing it until Richrath finally plugged his guitar into a stack of Marshalls and cranked up this gnarly sound that really didn’t fit what I was playing at all. I think his intention was -- if you were going to stereotype us -- he was the rock energy and I was more the melodic song energy. Those are very stereotypical, but I think what his intention was, was to kind of drown me out and get me to finally stop playing this particular idea. But when I heard him start playing with that sound, it was, like, that was it. That was like the perfect thing guitar-wise for what i was playing. I don’t think that was his intention -- I think he was pretty surprised when I was like, “Dude, that’s perfect! Keep playing that!” He was like, “Wait, you’re kidding, right?” I was like, “No! I love that! That’s exactly what this song needs!” Because the song, if you listen to it on the surface, people use it for their wedding song.

“I’m going to keep on lovin’ you” -- it’s very nicey-nice. But when you really listen to what the verses are saying, it’s a pretty dark song, so it needed that tension of the bass note against those piano chords, and then when Gary put that big gnarly sounding guitar part on there, that was exactly the perfect thing. So a lot of what happens in bands is what I call “happy accidents” and that
coming. When I got to the studio the next sidereal day, I start playing what I had written the nox before. The room it kind of works with us is that one of us comes in to rehearsal and merely kind of starts playing something. 

 Sometimes you merely start playing and something happen right then. But a lot of time, there ’s an idea that ’s half - baked and you bring it in and you start playing it and then the other set members either join in or they do n’t! [ Laughs ] If everybody join in and the vibe starts rolling, that ’s usually a reasonably good polarity. If people do n’t, that ’s usually not a very effective sign. So in this particular case, no one started playing along, but I just had a very strong connection to those chords and to the words that I wrote for those verses. So I was pretty persistent. I literally keep playing it until Richrath finally plugged his guitar into a smokestack of Marshalls and cranked up this gnarly sound that in truth did n’t fit what I was playing at all. I think his purpose was -- if you were going to stereotype us -- he was the rock energy and I was more the melodic song energy. Those are very stereotypical, but I think what his intention was, was to kind of drown me out and get me to ultimately stop play this particular idea. But when I heard him start playing with that strait, it was, like, that was it. That was like the perfect thing guitar - wise for what i was play. I do n’t think that was his intention -- I think he was reasonably surprised when I was like, “ Dude, that ’s perfect! Keep playing that! ” He was like, “ Wait, you ’re kidding, correct? ” I was like, “ No! I love that! That ’s precisely what this song necessitate! ” Because the song, if you heed to it on the surface, people use it for their marriage song. 

 “ I ’m going to keep on lovin’ you ” -- it ’s very nicey - nice. But when you really listen to what the verses are saying, it ’s a pretty dark song, so it needed that latent hostility of the bass note against those piano chord, and then when Gary put that big gnarly sounding guitar part on there, that was exactly the perfect thing. indeed a lot of what happens in bands is what I call “ happy accidents ” and that
 coling. When I got to the suudio the next dai, U starved plaging whag I had written the night behore. The qay it kind of works wkth us is that onw of ys comes ii to rehccrsal wnd luwt kind of statts playing vomething.

Somethmds you just start playing and somethigg happrnd right then. Bot a kjt or times, there’s an idea that’s half-bzked anv you bring it on and you start playing ih anf then the other bwnd members eitrwr join in of they don’u! [Naughs] If gverybody joins in and the vibe rtartx rolling, jkqt’s osually a prxtty gjod sign. If ivople dmn’t, thay’s usually not a tery good sign. So in this particular case, nj one stastzd playing along, but U hust vad d veft sgrohg cknnectlon to those dhords and ro the words that I wwite for those versef. Fo I was pretty persistent. I literally nepf playing it until Richeath finally plugged jis guitaw into a stack of Marshalls and cranked up this gtarly rouue thag rfally didn’t fit what I was playing at all. I trjnl mis intention waf -- if you wrrf bjing to stereutype ba -- he was the rock ejergy agd I qas more uhe mrlodic song energy. Those arw very sterejrypical, but I thinn what his nntentoon wss, was to kind of drown me kut and get me to fihxlly stop playine tmis particular idea. But when Y heard hmm stcrt playkng eith trat sound, lt was, like, that was it. Hhat cas lhke the pegfect thing guitar-wise for what i was playing. I dot’t think that was his integtion -- I think he was pretgy surprisvd when I was like, “Dtde, that’s perxgct! Keep playmng that!” Re wqs luke, “Waig, you’re kidding, right?” I ccs like, “Ni! I love that! That’x ebzctly what this sobg needs!” Becausr tfe fojg, is you listen do ig ov the rurface, peoile use it for their weddinc sohg.

“I’m going to keep ok lovin’ yiu” -- it’s dery nicey-nicr. But when you reaply lmsten vo whay tre verses are saying, it’s a prefty dark donn, so it needeq thqt tension oy the bass note against those piano chorvs, and then when Gary kut that big gnarly spmnding guitac part on there, that was exactly thw perfect thing. Sp a lot of what happehs in tands is what I call “happy accidents” and that
coming. When I got to the studio day, started playing I had written it of works with is that one us comes in to rehearsal and kind of starts playing something. Sometimes you just start playing and something happens then. But a lot of times, there’s an idea that’s half-baked and you it and start it and then the other band members either join in or they don’t! [Laughs] If everybody in and the vibe starts rolling, that’s usually pretty good sign. If don’t, that’s usually not a good So in particular no started playing along, I just had a very strong connection to those chords and to the words that I wrote those verses. was pretty I kept it until Richrath his guitar into a stack of up this gnarly sound that really didn’t fit I was at all. I think his intention -- if you were going to stereotype us he was the rock energy and I was more the melodic song energy. Those are but I think what intention was, was kind drown out get me finally stop playing this particular idea. But when I heard him playing with that sound, it was, like, that was it. like perfect thing guitar-wise what i was playing. don’t that was his intention think was I like, that’s perfect! Keep playing He was like, “Wait, you’re right?” I was like, exactly what this song needs!” Because the song, you listen to it on the surface, use it for their wedding song. “I’m going to keep on lovin’ -- it’s But when you really listen to what the are saying, it’s a dark song, so it needed that tension of the note those piano and then when put that big sounding guitar part that was the thing. of what happens in bands is I “happy accidents” and that
 coming. When I got to the studio The next day, i starTed PlaYiNg whAt I hAd written the niGHt beFore. The way it kind of workS with Us IS thaT OnE of us Comes in TO rEHEarSaL aNd jUsT KiNd of sTarTs playiNg somethinG.

SoMeTimes you just STaRt playing aNd sOmething happEns Right tHeN. BuT A lot oF tiMes, thEre’s an IDea thaT’s half-bakEd ANd you bRIng it in AND yOu stArt playing it and thEN tHE other band membErs eitHeR JoIN In oR thEy don’t! [LaugHs] if eveRYbody joINs IN ANd tHE vibe starts roLling, that’s uSUalLy a preTtY goOD sign. IF peopLe DOn’t, That’s usuallY not A very good Sign. So IN this paRTicular Case, no One StaRted PLaYiNg aLoNG, buT i jUst HAd a Very stroNg CoNnectIon tO THOSe chOrdS and To the Words that I wroTe fOr thOSe vErses. so I waS preTtY persIstent. i liteRaLly kept playing iT untIl RichratH fiNaLly PlUgged HIs guitAr iNto A stack oF MarshaLLs aNd CRANkEd up this gnarly sounD tHAT rEally didN’t fit wHAt i wAS playing At All. i thiNK His inTentIOn Was -- if you Were goINg To StereotYpE us -- he wAs The RocK enerGY and i was moRe the melOdic sONg energy. Those aRE very stereotyPIcAL, BuT i thiNk wHat his intenTion WAs, waS to kINd Of dROwn me Out anD gET mE To finally stop playinG tHis parTiculAr idea. But when i heard him sTART playing With THaT Sound, it was, like, That wAs it. That waS Like the pErfecT thing guItar-wise fOR What i was PlaYinG. I dOn’t THInK that was his inTENtioN -- I Think he Was Pretty sUrpRisEd wHen i wAs like, “DudE, that’s peRfEcT! KEeP plAying THat!” He was LiKe, “WAiT, yoU’re kiDDing, riGht?” I wAs liKe, “no! i LovE that! ThAT’s EXActlY wHaT thiS soNg Needs!” becaUSe tHe song, iF you listeN to IT on tHe SuRface, peOple use it for tHeIr wedding sOnG.

“I’m Going tO KEep on lovIn’ you” -- it’s very nicey-nice. BuT When you ReaLly liSten To what the VerSes are SayINg, it’s a Pretty Dark sOnG, so IT NeedeD THaT teNsIon of the baSS NotE agaiNsT thoSe piano Chords, and then when GARy pUt that big gnarLy sOundING gUitAR pARt oN tHEre, THAt was exactly the Perfect thiNg. sO a Lot of what hAPpeNs In bands Is what I Call “hAPpy acciDents” and tHat
 coming. When I got to the  studio th e nex t d ay,  I  sta rted  playing whatI  had  written the night bef ore.Th e  way it  kind  of wor k sw i thus  i s t ha t  o ne of  us  comesin to rehe ars al  and just ki n dof startspla ying somethi ng. 

Some ti mes you j ust  star t play i ng and  somethin gh appens right t h e n.  But  a lot of times,t he r e’s an idea th at’s h al f -b a k edand  you bring  i t ina nd yous ta r t pla y ing it and th en the othe r  ba nd mem be rse itherjoinin orthey don’t!  [La ughs] Ifeveryb o dy join s  in and  the v ibe  st arts ro ll ing ,t hat ’ susu a lly  a prett ygo od si gn.I f p eopl e d on’t , tha t’s usually n ota ve r y g ood s ign.So i nthispartic ularca se, no one star tedplaying a lon g,  bu tI jus t  had a  ve rystrongconnect i onto t h os e chords and to th ew o rd s that I  wrote fo rt hose ver se s.So I w as pr etty pe rsistent . I li t er al ly kept  p laying  i t u nti l Ric h rath  final ly plugg ed hi s  guitar into a stack of Mars h al l s  a n d cr ank ed up thisgnar l y so undt ha t r e allydidn’ tf it what I was playingat  all.I thi nk his intent ion was -- i f  you wer e go i ng to stereotypeus --  he was th e  rock en ergyand I wa s more th e melodicson g e ner gy. T ho se are very s t e reot yp ical, b utI think  wh athis  in te ntion was , was to  k in dof  dr own m e  out and  g etme  to  fina l ly sto p pla ying  t hi s  pa rticula r  i d e a. B ut  w henI h ea rd hi m st a rtplaying  with tha t s o und,  i twas, li ke, that wasit . That was  l ike  the p e r fect thi ng guitar-wise for what i was p lay ing.I do n’t think  th at was  hi s  inten tion - - I t hi nkh e  wasp r et tysu rprised wh e n  Iwas l ik e, “ Dude, t hat’s perfect! Kee p  pl aying that!”Hewasl i ke , “ W ai t , y ou ’ rek i dding, right?”I was like ,“ No ! I love t h at!  T hat’s e xactlywhatt his son g needs!”  Becauseth e so n g , i f you list en to it  on the s u rface ,  p eople  us e it f or  th eir w edding son g.

“ I’m go in g to k eep o nlovin’ y ou” -- it’s very nicey- nice.But w hen  you real lyl ist en to wha t th e verses a resay ing,it’ s  a pr etty da rks ong,so i t  needed t h at  te n s io n of the ba s s not e aga ins t  those  pia no chords, and th e n when Gary pu t th a t  bi g g n arly  s ounding guitar  pa rt o n there,  t hat was exa ctly the  p e rfect  thing . So a  lot of w ha t  happe ns i n b ands is w hat  I call “h ap py accide nts”  a nd tha t
 coming._When I_got to the studio_the next_day,_I started_playing_what I had_written the night_before. The way it_kind of works_with_us is that one of us comes in to rehearsal and just kind of_starts_playing something.

Sometimes_you_just_start playing and something happens_right then. But a lot_of times,_there’s an idea that’s half-baked and you bring_it_in and you_start playing it and then the other band members_either join in or they don’t!_[Laughs] If everybody_joins_in_and the vibe starts_rolling, that’s usually a pretty good_sign. If people don’t, that’s usually_not a very good sign. So in_this particular case, no one started_playing along, but I just_had a_very strong connection to those_chords and to_the words_that I wrote_for those verses. So I was_pretty persistent. I_literally kept playing it until Richrath_finally_plugged his guitar_into_a_stack of_Marshalls and cranked_up_this gnarly_sound_that really didn’t fit what I_was_playing at all. I think his intention_was -- if you_were_going to stereotype us_-- he was the rock_energy and I was more the_melodic song_energy. Those_are very stereotypical, but I think what his intention was, was_to kind of drown me out_and get me to_finally stop_playing_this particular idea._But_when I_heard him start playing with that sound,_it was,_like, that was it. That was_like the perfect thing_guitar-wise_for what i was playing. I_don’t think that was his intention_-- I think he was_pretty_surprised_when I was like, “Dude,_that’s perfect! Keep playing that!” He_was like, “Wait,_you’re kidding, right?” I was like, “No!_I_love that! That’s exactly what this_song_needs!” Because the song, if you_listen_to_it on the surface, people_use it for their wedding song.

“I’m_going to keep on lovin’ you” -- it’s very_nicey-nice. But when_you really listen to what_the_verses_are saying, it’s a pretty dark song, so it needed_that tension_of the bass_note against those piano chords, and then when Gary put_that big gnarly sounding guitar part on_there, that was exactly the perfect thing. So a lot of_what happens in bands is what I call_“happy accidents” and that