Like this: Like Loading Written By: Neill Frazer. Related Posts. Comments: 2. Karen Christine Whitham Reply February 22, pm. X x Loading Angela R Reply February 28, am. Are you guys working on any new music now? A: We're working on some new songs, but I don't see the landscape in the world being one that makes sense for us to make an entire album right now. We're going out on an anniversary tour for "Mad Season" and there's a huge amount of nostalgia that comes with that.
There's 20 years of music that people are going to want to listen to. So for us to just start shoving a whole bunch of brand new songs down people's throats, I don't think they're going to love that. But if we came out with one or two songs that we legitimately got behind and we felt really good about, then those fans that really want to hear something new won't walk away disappointed either.
Q: "Smooth" turned 20 last year. How do you and Carlos Santana look back on it now? A: Listen, we've worked together a lot. We did "Smooth," and then after that, I wrote for him and Mary J. Blige and Musiq Soulchild and Seal and a bunch of other people on his records. I think we have this affection for "Smooth," while at the same time, I don't think either one of us thinks it's the best song that we've ever done.
I don't think it's the best song I've ever written and certainly not the best song that he's ever done. But it just really holds a place in our hearts. It was the exact right song at the exact right time for the two of us. That's another great example of a song that I don't need to hear ever again, but if you play it live, it just sparks something in the crowd.
We went through that journey together. The Matchbox Twenty frontman survived a reckless childhood, then impossible fame. Rob Thomas leans forward and holds up an Instagram shot of his son cradling a guitar. Thomas sneaks another glance at the photo of Maison before pocketing his phone.
When he was 21 himself, Thomas explains, he was still a year away from signing his first record deal with Matchbox Twenty. When Thomas started playing in local cover bands -- after high school, as all of his friends started going to college and thinking about careers -- he realized that he was either going to become a successful musician, or spend his life performing manual labor.
After Matchbox Twenty signed to Atlantic Records in , Thomas spent the majority of his twenties as an inescapable radio presence, harnessing his talent as a pop craftsman to become one of the most successful songwriters of all time.
Thomas laments how ugly his shirts are in both snapshots, even though they look ordinary enough. The erratic first part of his life, and the whirlwind international success that almost immediately followed, have given way to a calm, well-adjusted forties for Thomas.
Thomas understands that he is not cool, and that, by extension, his music is not cool. He brings this up on multiple occasions, unprompted. We were just… never cool. But even less so, now. Yet this self-awareness has provided a sense of peace. And that was never our designation. For its follow-up, Thomas made a few choices that put him back in his comfort zone, starting with calling longtime friend Butch Walker to produce the entire project.
Walker, a veteran singer-songwriter who recently contributed to full-lengths by Weezer and Fall Out Boy, worked on the album from his Santa Monica studio, with Thomas FaceTiming him from his basement studio in New York and sending him demos over GarageBand, in between the occasional in-person session on either coast. He knows that, for an aging radio fixture like Thomas, unspoken pressure -- from a label, or management, or the industry at large -- can result in overreaching in an effort to mine new hits.
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