John:I really can't think of much to say
about this one, except that I was trying for a "Goth"
sound.
Rog: Appropriately, this is the last song
we finished for the CD. We had just completed Regression Therapy
and there was time to maybe finish one more tune before John and
Lucille moved down South. It was between two songs we had already
started recording before Regression Therapy took us over: this
one and Cold Outside. I actually preferred Cold Outside (a catchy
number Greg wrote which will hopefully see the light of day
eventually), but Regret won out by virtue of the fact that it was
further along before we stopped working on it. Greg
was disappointed that he didn’t get a chance to redo his
vocals, since he had learned a lot and progressed much with his
singing since they were originally recorded. We probably
would’ve gone with a higher key. Along with For The Glory
and You Drive, I think this is Greg’s best bass guitar
performance (though I think it was written by John). That’s
the most interesting part of the song for me. Greg and I both
played fill guitar bits using the same guitar and sound, and John
mixed and matched them to the point where we don’t know who
did what. John came up with the nifty piano intro based on one of
the guitar bits Greg played. I’m glad I finally got a chance
to use my E-bow in a song, since I’m a huge Bill Nelson fan.
And dig that funky finger-picked distorted rhythm guitar part at
the end! Lyrically, this is one of my few songs that’s based
on an actual incident, rather than being a generalization of
people, events or emotions.
Greg
was disappointed that he didn’t get a chance to redo his
vocals, since he had learned a lot and progressed much with his
singing since they were originally recorded. We probably
would’ve gone with a higher key. Along with For The Glory
and You Drive, I think this is Greg’s best bass guitar
performance (though I think it was written by John). That’s
the most interesting part of the song for me. Greg and I both
played fill guitar bits using the same guitar and sound, and John
mixed and matched them to the point where we don’t know who
did what. John came up with the nifty piano intro based on one of
the guitar bits Greg played. I’m glad I finally got a chance
to use my E-bow in a song, since I’m a huge Bill Nelson fan.
And dig that funky finger-picked distorted rhythm guitar part at
the end! Lyrically, this is one of my few songs that’s based
on an actual incident, rather than being a generalization of
people, events or emotions.