![]() All of us, including the record company said, “What are you talking about? Quality will suffer from too many songs, and no one will buy the record.” In the end, it worked great, as CDs obviously took off. ![]() We had 10 tracks and Mutt said we needed more. He knew the CD thing was going to take off. One of the big things that a lot of people don’t realize Mutt was doing with “Hysteria” was that he was making the album for CD buyers. He has a constant flow, and he is very inspiring. You really need something else here.” He really breaks it down and analyzes it. He can just listen to a song and say, “That chord is too weak, and the vocal won’t work. When Mutt came back, he raised everything to a whole new level. He had a vision of what “Hysteria” was supposed to be like, and he was the only one who could do that album. As soon as he came back into the fold, everything fell into place. PC: We had been f**king off for two years, and when he came back, he said it was time to go to work. GM: You took so long that Mutt’s schedule actually freed up. We kept going back and doing it over and over again, and we kept losing the vibe. The songs just didn’t have any fire to them. Not many people can actually explain how the songs should have a certain feel and verve to them. When Mutt explained the concept he had for the album. It wasn’t even a lack of experience on our part. He had an idea of what it would sound like, and everyone was just second-guessing him, and it wasn’t working at all. We tried Mike Shipley and Nigel Green and a bunch of different guys, and that was all fine and dandy, but we started it with Mutt. We spent an extra year just trying to record with different engineers, and that didn’t work either. When you have someone producing a record, you want them to come in with a lot of ideas. There was nothing coming out of it at all. If he had done anything, then it wouldn’t have been a bad thing, but there were no real suggestions.
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