Digital Booklet - Eyes Open

9855269_snowp_bklt.qxd 8/3/06 12:49 Page 1

You’re All I Have(Recorded at Parkgate in October 2005 apart from vocals which, as in most cases, were recorded at Grouse Lodge)This was the first song we recorded so it makes sense to be at the beginning of the record. We started here because it was a straightforwardand uplifting pop song so it got us underway with the album. It demonstrates from the outset the confidence we had in the melody, and setsthe album’s tone from the off. Big, bold, beautiful. And why not.We were in quite a buoyant mood most of the way through making this, but you’re never more upbeat than at the beginning and at the end. If you’re happy and you know it ?!?

Hands Open(Recorded at Parkgate in October 2005)We wrote this in the Berkley Rehearsal Rooms in Glasgow and it was a tame little Tom Petty-ish tune. In keeping with the spirit of the recordthat coziness didn’t last long. By the time we got it to Parkgate it was a big riffy monster. If I could draw, I’d draw a big riffy monster, it may look like this ?..

Although that looks a bit like a duck - a big riffy duck though!I’d been listening to Illinois by Sufjan Stevens nearly every day up to that point so it made sense that the make up song within the song shouldbe one of his.

Chasing Cars(Began in Parkgate in October 2005 and finished in Grouse Lodge in December 2005)I wrote this song in Garret’s garage in 2004. The minute the rest of the guys heard it they loved it. As did anyone I played it to. Do I hear a trumpet blowing? Excuse me, I’ll just put it down. Better. Where were we?....It was, however, the most difficult to get right, structurally more than anything. (For proof, note the protracted recording span). When we did nail it in Grouse Lodge, it was big smiles all round.It’s a song of joy, love and wasting time with someone you love (the finest pursuit). There is no knife twisting, as is my usual, nothing but ahappy ending. Doesn’t happen very often.

Shut Your Eyes(December in Grouse Lodge)Today this is my favourite.It’s hypnotic and seemingly occupies it’s own little world on the record (perhaps joined only by ‘Set The Fire To The Third Bar’ but only inatmosphere. ‘Third Bar’ has something else).This, along with ‘You Could Be Happy’ features the five of us all playing at the same time in the big room at Grouse Lodge.I love the impurities that recording like this kicks up - laughing, chairs creaking, feet tapping and generally people getting it slightly wrong.Makes it all the more human.The words are positive, hopeful and reaching. This makes me smile. To get this from a song which calls the world ‘graves of dirt’ is good, no?No? OK no then.


It’s Beginning To Get To Me(Recorded at Parkgate in October / November 2005)During our spell writing in Dingle, Co. Kerry, Ireland in February 2005, Paul wrote the music for this. We were writing in a wee roundhouse once occupied by Kate Bush. Not sure what songs she wrote there but rest assured there were none like this.Looking out of the windows of the round house out front was a 100 foot drop to the sprawling, vast Atlantic Ocean and from the backwindow our view was of Mount Brandon, one of the highest peaks in Ireland. So as far as natural drama goes, we were enveloped.All this may well have been the seed of the album’s central theme ? magnitude.Trying to write words to someone else’s melody is hard for me. Well it was this time. This uncertainty is demonstrated in the lyrics:A stilted fight, a wordless coup. The type of situation where one word could save you but you’re too stubborn. Or, much moredepressingly, inarticulate to speak.

You Could Be Happy(Music Box recorded at Parkgate in November 2005. Full band recorded at Grouse Lodge in December 2005)This again was written in the rehearsal room in Glasgow in September 2005. It was a little ballad on the guitar that was sweet and sad butlacked something special. It was Garret’s idea to put the melody onto a music box and instantly this turned it into something completelydifferent. Ironically, though it was only when the rest of the band played on it that it got the magic touch. And the gorgeous stringswhich my sister insisted we put on. Thanks Sarah.

Make This Go On Forever(Recorded in Garret’s garage and Parkgate in November 2005 and in Grouse Lodge in December 2005)I wrote the verse and outro at Garret’s in the middle of the Final Straw tour and a few bits and pieces we recorded on that day made the final mix.It was crying out for a gigantic chorus though. We were sitting late one night, me and Garret at Parkgate, and I just rattled the chorus offwords and all in a few minutes.It’s the most spontaneous thing that happened on the record and it ended up being the most intricate and thrilling.

Set The Fire To The Third Bar(Recorded in Grouse Lodge in December 2005 and Apollo in Dublin on 12th December 2005)Rather spontaneous also as a week before we finished recording the album this song simply didn’t exist. Garret had the idea to get MarthaWainwright on the record as we’d been listening to ‘Bloody Mother Fucking Asshole’ a lot, you know, for self esteem - I didn’t want her to justsing backing on one of the other songs so I went off and wrote a song especially for her.It came pretty easily and the lyrics are my favourite on the album. I guess I was inspired by Martha.We called her up and sent her the song and she said yes. Thank the Lord.Perfectly, she had a show in Dublin the day we finished in Grouse Lodge so we booked a studio and got to spend our last day recording.Listening to one of the finest contemporary female singers sing the words I wrote for her, with such passion is more than I could have dared to dream of. Thanks Martha xo

Headlights on Dark Roads(Recorded at Parkgate in October 2005 and finished at Grouse Lodge in December 2005)Nathan wrote the music to this. It was very dark to me in the verse and the chorus delivered such a release that I wanted to show that in thelyrics too. The verses are as dark as I’ve ever written.

Open Your Eyes(Started at Parkgate in October 2005 and finished at Angel Studios in December 2005)I haven’t mentioned the strings yet. Now’s my chance.This was the most ambitious song we have ever attempted. Built around one hypnotic rift and a very claustrophobic opening verse whichopens (see what I did there?) out into an ever building, rolling landscape.We wanted to increase the tension in the song to the point where when the final release came it made you exhale. We wanted it to tease and then smash.James Banbury did such a great job of the strings in this and all through the record. Sweeping and glorious.

The Finish Line(Recorded at Grouse Lodge in December 2005)This strips everything away. It’s like the sonic bubble bath of the record. This is really the magic of Garret left to his own devices to make awesome noises and atmospheres. It’s the dot dot dot on the end of the record ... g xo




















1. You're All I Have 4.32Lyrics by Lightbody. Music by Lightbody, Connolly, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by by Sam Bell.Assisted by Stefano Soffia and Simon Wakeling. Programming by Jacknife Lee. Mixed by Cenzo Townshend. Assistant Mix Engineer: OwenSkinner. Backing Vocals: Iain Archer, Paul Archer and Jacknife Lee.

2. Hands Open 3.14Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam Bell.Assisted by Stefano Soffia and Simon Wakeling. Programming by Jacknife Lee. Mixed by Cenzo Townshend. Assistant Mix Engineer: OwenSkinner. Choir recorded by Tom McFall. Choir recorded at The Arches, Glasgow. Choir: Richeal Reader, Fay Russell, Sarah Wilson, HrafnhildurHalldorsdottir, Stacey Sievwright, David McGinty, Paul Archer, Iain Archer, Ciaran Gribbin, Jenny Reeve, Eugene Kelly, Claire Scott & CharlieClarke.

3. Chasing Cars 4.25Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Published By: Big Life Music Ltd. Produced by Jacknife Lee for BigLife Management. Engineered by Tom McFall. Additional Engineering by Sam Bell. Assisted by Stefano Soffia and Simon Wakeling. Keys &Programming by Jacknife Lee. Mixed by Cenzo Townshend. Assistant Mix Engineer: Owen Skinner. Strings Contracted by Hilary Skewes, BuickProduction Ltd. Strings arranged by James Banbury. Strings led by Janice Graham. Strings Recorded by Steve Pryce. Violins 1: Janice Graham,Paul Willey, Warren Zielinski, Mia Cooper, Ursula Gough, Richard Milone, Rebecca irsch. Violins 2: Charles Sewart, Maya Magub, Steve Morris,Karin Leishman, Pauline Lowbury, Richard George, Beatrix Lovejoy. Violas: Timothy Grant, Maxine Moore, William Hawkes, Matthew Soute.Cellos: Caroline Dale, Caroline Dearnley, Adrian Bradbury, Zoe Martlew. Double Bass: Leon Bosch, Ben Russell.

4. Shut Your Eyes 3.15Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam Bell.Assisted by Stefano Soffia. Keys & Programming by Jacknife Lee. Choir recorded by Tom McFall. Choir recorded at The Arches, Glasgow. Choir:Richeal Reader, Fay Russell, Sarah Wilson, Hrafnhildur Halldorsdottir, Stacey Sievwright, David McGinty, Paul Archer, Iain Archer, CiaranGribbin, Jenny Reeve, Eugene Kelly, Claire Scott & Charlie Clarke.

5. It’s Beginning To Get To Me 4.33Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam Bell.Assisted by Stefano Soffia. Programming by Jacknife Lee. Mixed by Cenzo Townshend. Assistant Mix Engineer: Owen Skinner.

6. You Could Be Happy 3.01Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam BellAssisted by Stefano Soffia. Keys & Programming by Jacknife Lee. Strings recorded by Pete Hoffman. Assisted by Ferg Peterkin. Strings arrangedby James Banbury. Violins: Everton Nelson, Janice Graham, Louisa Fuller & Lucy Williams. Viola: Anya Ullman. Cello: James Banbury. MusicBox made by Dr Eliza Chuckley. Assisted by Friendly Seems.

7. Make This Go On Forever 5.45Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam Bell.Assisted by Stefano Soffia and Simon Wakeling. Mixed by Cenzo Townshend. Keys & Programming by Jacknife Lee. Assistant Mix Engineer:Owen Skinner. Choir recorded by Tom McFall. Choir recorded at The Arches, Glasgow. Choir: Richeal Reader, Fay Russell, Sarah Wilson,Hrafnhildur Halldorsdottir, Stacey Sievwright, David McGinty, Paul Archer, Iain Archer, Ciaran Gribbin, Jenny Reeve, Eugene Kelly, Claire Scott& Charlie Clarke. Strings Contracted by Hilary Skewes, Buick Production Ltd. Strings arranged by James Banbury. Strings led by Janice GrahamStrings Recorded by Steve Pryce. Violins 1: Janice Graham, Paul Willey, Warren Zielinski, Mia Cooper, Ursula Gough, Richard Milone, Rebeccairsch. Violins 2: Charles Sewart, Maya Magub, Steve Morris, Karin Leishman, Pauline Lowbury, Richard George, Beatrix Lovejoy. Violas: TimothyGrant, Maxine Moore, William Hawkes, Matthew Souter. Cellos: Caroline Dale, Caroline Dearnley, Adrian Bradbury, Zoe Martlew. Double Bass:Leon Bosch, Ben Russell. Strings Contracted by Hilary Skewes, Buick Production Ltd. Strings led by Janice Graham.

8. Set The Fire To The Third Bar featuring Martha Wainwright 3.22Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam BellAssisted by Stefano Soffia. Keys & Programming by Jacknife Lee. Vocal by Martha Wainwright. Martha Wainwright appears courtesy ofDrowned In Sound, Maple, Rounder, Shock, V2.

9. Headlights On Dark Roads 3.28Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam BellAssisted by Stefano Soffia. Programming by Jacknife Lee. Mixed by Cenzo Townshend. Assistant Mix Engineer: Owen Skinner.


10. Open Your Eyes 5.38Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Engineered by Tom McFall. Additional Engineering by Sam BellAssisted by Stefano Soffia. Keys & Programming by Jacknife Lee. Mixed by Cenzo Townshend. Assistant Mix Engineer: Owen Skinner. Piano:Ken Stringfellow. Ken Stringfellow appears courtesy of Rykodisc. Choir recorded by Tom McFall. Choir recorded at The Arches, Glasgow. Choir:Richeal Reader, Fay Russell, Sarah Wilson, Hrafnhildur Halldorsdottir, Stacey Sievwright, David McGinty, Paul Archer, Iain Archer, CiaranGribbin, Jenny Reeve, Eugene Kelly, Claire Scott & Charlie Clarke, Strings Contracted by Hilary Skewes, Buick Production Ltd. Strings arrangedby James Banbury. Strings led by Janice Graham. Strings Recorded by Steve Pryce. Violins 1: Janice Graham, Paul Willey, Warren Zielinski, MiaCooper, Ursula Gough, Richard Milone, Rebecca irsch. Violins 2: Charles Sewart, Maya Magub, Steve Morris, Karin Leishman, Pauline Lowbury,Richard George, Beatrix Lovejoy. Violas: Timothy Grant, Maxine Moore, William Hawkes, Matthew Souter. Cellos: Caroline Dale, CarolineDearnley, Adrian Bradbury, Zoe Martlew. Double Bass: Leon Bosch, Ben Russell.

11. The Finish Line 3.28Lyrics by Lightbody. Music by Connolly, Lightbody, Simpson, Quinn, Wilson. Produced, Engineered and Mixed by Jacknife Lee for Big LifeManagement. Keys & Programming by Garret Lee.

All tracks produced by Jacknife Lee for Big Life Management.Published by Big Life Music.Management Jazz Summers, Tim Parry & Tara Richardson at Big Life Management.www.biglifemanagement.com

Recorded at Parkgate Studios, East Sussex; Grouse Lodge Studios, Ireland, Apollo Studios, Dublin; The Garage, Kent; The Arches, Glasgow;The Garden, London and Angel Studios, London. Mixed at Olympic Studios, London and The Garage, Kent. Mastered by John Davies at Alchemy Soho, London. Compiled by Nigel Walton at The Edit Suite.

DVDDirected by Mark Thomas. Produced by Tim Mullett and Danny O'Connor. Edited by Mark Thomas and Matt Norman.Special thanks to Document Productions Ltd. Cameras: Mark Thomas, Matt Norman, Dave O' Rourke, Karen Craig, Rob Fisher, Stephen Barnes.Additional Cameras: Alison Surtees, Bryan Dixon. Interviews: Kevin Geoghegan, Danny O' Connor.

P 2006 Polydor Ltd. (UK) C 2006 Polydor Ltd. (UK). The copyright in this sound recording is owned by Polydor Ltd. (UK), a UniversalMusic Company. All rights of the manufacturer and of the owner of the recorded work produced reserved. Unauthorised copying,hiring, lending and broadcasting prohibited. LC00309. BIEM/SABAM. Made in the EU. 9855269.

All our Thanks goes to:Jazz Summers, Tim Parry, Tara Richardson, Alix Graham, Sarah Elgie and everyone at Big Life Management. Jim Chancellor, Joe Munns, PaulSmernicki & Natalie Nissim at Fiction. David Joseph, Colin Barlow and everyone at Polydor. Jimmy Iovine, Ron Fair, Courtney Holt, BrendaRomano, Deb Fenstermacher, Ingrid Erickson, Robbie Lloyd, Jenny Boddy, James Evans and everyone at Interscope A&M. Steve Strange andNicky Forestiero at X-Ray. Marty Diamond & Heather @ Little Big Man. Chris Panayi & Frances at CC Panayi. Dan Oggly & Liza at Friction inIreland. The oracle that is Garret ‘Jacknife’ Lee, simply, we love you. Massive thanks also to Garret’s wife Melissa and their two wonderful girlsBetsey and Esme. We spent a lot of time working on this record at their house and they always made us feel like part of the family. Thank you toJames Banbury & his wonderful orchestra. The brilliant Glasgow Choir, the spectacular Martha Wainright, and the marvellous Ken Stringfellowfor making this record even more special. And huge thanks to our wonderful crew Jimmy Symington, Neil Mather, Wayne ‘Rabbit’ Sargeant,David Coates, Jay Beard, Graemo Hunter, Paul Eastman, Tom Evans, Davey Sherwin, Val Deerin, Robbie McGrath, Jeff Singh, Derek Fudge,Bradley Quinn. Tom Brown, George Ibbetson & Kim Gray at Cheeky Half Cuts, Tom McFall and Sam Webb, Gloria Pennyfather, Sarah Brennan,Colin Murray, Donna Legge, Edith Bowman, Zane Lowe, Jo Whiley, Gill Mills, Vic Galloway, Steve Lamacq, Maeve Quigley, Stuart Baillie, JimmyDevlin, Darren Smyth, Shep, Abi Hewitt, Laura Donnelly, Eva Lynch, the beautiful Vince Doran, John Moriarty, Gary Cohen, Nick Cohen, Shimmy,Fraser Campbell. Alan Bailey of MCC, Hoda Armani and everyone @ Fender. Mark Deneys. Tina @ Zildjan and Kevin @ ProMark. All the peoplewho’ve helped us and all the bands we’ve toured with that inspire us every day of our lives. There are far too many to mention.

All photos by Bradley Quinn. www.snowpatrol.net


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Digital Booklet - Eyes Open