Because that’s what’s got to be right, the delivery of the vocals has to be natural. So after we halved it, we sped it up a bit. So, we halved the tempo and then it sounded just a little bit too slow. Then I said look if we half the tempo, it’s going to sound better in the verse. We had this problem, whenever we tried to play it with the band we just couldn’t get it to seem to work. It was kind of like the verse and then I say don’t you know… But we couldn’t get the temp right. Originally, it had a more traditional structure. And that was when the chorus was at the right tempo. Nick was playing along on an old crappy Yamaha synthesizer sort of thing.īut when we wrote it, the temps were wrong. But at the same time, I wanted it to be dance music. Those answering lines is what I was trying to do there. There’s a real dark, sinister element to it. The really sinister-sounding stuff like “ Smokestack Lighting,” that kind of stuff. And some of it kind of-eh-doesn’t really engage me so much. I’ve got a very mixed attitude to blues music. I was trying to do that Hubert Sumlin and Howlin’ Wolf thing of like singing a line and then playing the guitar answer to it. And the guitar line I had, which became like the hook in the main part of the song, that came when I was singing the words, as the words were coming out of my head. And the tension is almost unbearable and you want to the other person-you’re almost desperate to the point where you want the other person to literally take you out or figuratively take you out.
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