So I was shocked when it was played on mainstream radio in the US. I thought it was going to work on alternative radio in the UK.
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He was learning how to play during the recording! I had absolutely no idea the song would become so big. The whole band were leaning on his drumming, especially poor Bob on bass, who was a non-musician friend they had dragged in. I couldn’t understand his thick Scottish accent so the others had to translate. They were easy to record, as Paul Thomson is a fantastic drummer. I cleaned up all the instruments and made them very tight with the drums to give the song that mechanical feel.
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We used Pro Tools editing to fix mistakes. Very few musicians can play well to a click track, and natural tempo changes in a song can be great. We recorded as live as possible, without a click track to keep us in tempo. It was nice to be home but it had also been hard to find a similar studio in the UK for the same money.
We recorded at Gula Studion in my home town, Malmö in Sweden, which had a great 1970s console and a big sounding room. I wanted to give listeners the loudness of a live gig. The main thing I added was an aggressive sound. I’d been much more creative when I produced the Cardigans. I think that got me the job of producing them, but I didn’t have to change much. Before working with them, I saw the band live and told them I liked the Talking Heads vibe some songs had and suggested we explore that. Otherwise, Take Me Out was great on the demo and already had the marvellous intro in a different tempo. It was a good hook but I thought it sounded like a bagpipe melody. I don’t remember hating Take Me Out! But I certainly didn’t like the famous guitar riff. Photograph: Tabatha Fireman/Redferns Tore Johansson, producer When we recorded it, Tore Johansson, the producer, hated it and kept asking: “Why are we recording this? The other songs are so much better.”įranz Ferdinand at the Mercury Music awards in 2014. When you come up with a song like that, the dreamer in you is thinking: “One day, we’ll play this in Mexico City.” But the realist thinks, “We’ll press up 500 copies and sell 35”, which is what had happened with all the other bands I’d been in. The first time we played the whole song in the rehearsal room, I joked: “This would sound really good on the radio.” But I was thinking of a session on John Peel or something – if we were lucky. We thought it would be funny to spoof the sounds you got on Queen records or the beginning of Eye of the Tiger. The short staccato bursts of sound – where you hit a cymbal and hold it to stop it resonating – came about because Bob Hardy, our bass-player, had read an article about “sports rock”, the music played at sports games in the US. The tempo of the chorus was much slower than the verse, so I suggested playing all the verses at the beginning, but slower, then the choruses. The “I know I won’t be leaving here with you” section formed a bridge between the verse and chorus, but when we rehearsed it with the band, it didn’t sound right.
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