By Bryan Reesman
“Beyond You” because it is spiritually pure and absolutely racked with pain, which was perfectly represented in my view, melodically, atmospherically and lyrically. The way it turned out was a triumph. “Afraid Of Sunlight” for similar reasons really, just the way it changes from something very intimate in the verses to something wider than Arizona in the choruses, almost magically, which was a feat of brilliant musical arrangement and mixing by Dave Meegan. It still knocks me out the way it does that.
“The Invisible Man” because it’s as near as we’ve come to perfectly marrying a very complex lyric, with a lot of very abstract notions in it, with the music. And “Happiness Is The Road” because of the amazing amount of love in it from a band that over the years that has spent a lot of time poking around in the darkness and the more depressed areas of life. To have something so life affirming at the end of all of that is something I’m very pleased about.
My ultimate song would be “Neverland” because it’s got a lot of class to it and a lot of classic progressive leanings, but it’s a completely modern-sounding song. It’s got a good rhythm to it and those overtones of Floyd but is very modern-sounding.
“Easter” is one of my favorite tracks of all time because I think it is a great arrangement. I love everything about it, the sentiment of the lyrics. It’s a very powerful track. We played it the other night spontaneously — we hadn’t even rehearsed it and hadn’t played it for months and months — and it’s just one of those tracks that plays itself. It starts off in 6/8 and goes into 5/4 near the end, but it doesn’t matter what time signature it’s in because it’s very melodic.
Probably “The Great Escape” because it has so much of what the band’s strengths are