This is what most of my music sounds like - strange chords, using minors and 7s. I got the chord pattern and the rest kind of came together somewhat quickly. The middle 8 section has another "put my fingers where it sounded right" chord, that being the 4th chord. I go to a C on the bass under this chord despite there not being a C in the chord - it seems to work though!? I reckon... I liked the line "you put me in a happy mood", that just seemed like a gentle, nice way to give someone a compliment. I'd be happy if someone said that about me. So I kept that line from very early on. The original lyrics I wrote I think were a bit more creepy and 'suggestive' and I didn't like that at all (lyrics like "you know what I want to do" eewww creepy. It was starting to feel like The Police, Every Breath You Take (great song but creepy lyrics)). So I actually just pictured my children and wrote the song with them in mind. It gave me the right mindset to make it 'nice' rather than creepy. This song is not for my kids, I just used the image of them to move the lyrics to a nicer place. The middle section lyrics were not written with my kids in mind, it was when we were in QLD on holidays, on the plane this time, I got the line "my melon collie loneliness depression resumes" and I thought that was awesome. That's when I knew I'd make the middle 8 about what it's like when this person is away, and the rest of the song would be praising when they're there. The song, I felt, is actually about depression (oh the irony), it's showing a co-dependence that is not healthy in any relationship (I say "any" relationship as I think this is just a friendship being sung about, not a romance). I did that intentionally, with Willie Nelson's Blue Skies in mind - that song has these lyrics talking about a blue sky but the feel of that song is so off putting, strong contrast to the lyrical content. I feel that song is about depression (and it actually was used in a depression community service advertisement here in Victoria, which always stuck in my mind). I wrote three different leads breaks, that used the minor pentatonic scale, but I really walked up the blues note to give it a chromatic feel. Worked real hard on those three lead breaks... but the final part, where it fades, that's when I came up with the five note riff that's all through the recording now. I thought that 5 note riff was so beautiful and it was stuck in my head REALLY bad after I came up with it. Anyway, come crunch time to record the song, I just thought "keep it simple mate, go for the good parts" and opted to play that same repeating five note riff through the whole song. I thought of it being like White Town's, Your Woman which has a similar repeating pattern running through it, and I guess the idea to run the riff constantly was based on that song. This song took the longest to produce. As I'm hitting the guitar (muting it) for the rhythmic aspect it created a lot of high frequencies that weren't in the other recordings. When I copied the same software settings across this track, as all the others, it was too bright. I had to go back and forth a few times, and ultimately found a nice mix where the bass was pushed much louder than in any other song on the album and the guitar chords are almost hard to distinguish. I also did that, as the bass line on this one was the most independent out of all the songs (all the other bass lines just support the chords, this one stands on its own, and it kicks ass). Having the bass so prominent and independent of the chords reminded me of Foster The People's Pumped Up Kicks, and I liked that.