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PHOTOS: ‘Who Shot Rock & Roll’: Tupac, Elvis and Amy Winehouse Take Center Stage in Exhibit I personally look at it as a new beginning, and if that’s the case, then we’ve just done the difficult second album. I may not agree with that, but it seemed to spark a certain enthusiasm as far as rediscovering one’s passion for the band and the band as a vehicle for one’s writing. A lot of people saw it as our best album. It sort of repositioned the band in the eyes of a lot of journalists and the fans. I think what really sparked the fire was The Liberty of Norton Folgate. Smyth: We reformed in ’92, we did an album in ’99 called Wonderful, and we did another album in 2005. What provided the spark for your latest return?
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The thing with Madness is you can work on any song you like, but once it goes through the process of being worked on by the band, it sounds like Madness, so there is never any fear that you’re going to lose “the sound.” And Liam Watson, he’s very much old-school 8-track analog. Charlie Andrew, who works in preproduction and on some mixes with Clive, he’s an up-and-coming set of ears Alt-J, one of the acts he produced. Owen Morris is very much boisterous and energetic. Stephen Street is very calm and collected. Obviously it could go really wrong, or it could go really right. So we felt we’d try a few tracks with different producers. Clive essentially is like an eighth member … but we’ve worked with him for so long it felt like a change would be interesting. The Hollywood Reporter: What led you to employ several different producers (Charlie Andrew, Clive Langer, Liam Watson, Owen Morris, and Stephen Street) on this album?Ĭathal Smyth: The main reason is we’ve worked with Clive Langer and Elmore Stanley on pretty much every album.