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© Riccardo Arena/Demotix/Corbis
“This one is so great. Once I start a tour, I don’t listen to the album anymore. It’s too disconcerting. I want to focus on these guys in the band. Who are they? What can I do with them to make these songs grow? So to get there, I have to distance myself from the album.
“I would get these comments from people after the shows: ‘Oh, man, Shine On American Dream – that song sounded so intense!’ And I’d be like, ‘Really?’ Because with things like Satch Boogie, you can feel how intense they come across because that’s how they feel from a guitarist’s point of view. There’s so much swinging and noises and stuff.
“But with Shine On, which is a very easygoing piece of music from a guitarist’s standpoint, it’s just the opposite: When people see guitar players being all busy, they think, ‘Oh, yeah, we’ve seen this before.’ They want a big block of sound and a wall of emotion, and that’s what provides the concert journey.
“So what happened was, after a couple of weeks of not playing, I started going through the set again, and while playing along with the album I thought, ‘Wow, Marco really made this more of a backbeat song.’ He pulled it back – he’s playing it just a hair slower – and in doing so, he made it heavier. That's pretty cool."