David Cook Reveals Song Titles, Discusses Writing Process in New Idolatry Interview

Lots of NEW ALBUM scoop in this latest David Cook interview with Michael Slezak of Entertainment Weekly.

  • Check it out right HERE.

David is hard at work on his next album and working with familiar names like Raine Maida and Chantal Kreviazuk, David Hodges and Brian Howes.  But, there are also new collaborators thrown into the mix, including, Max Martin, Claude Kelly, Tommy Hedrickson and Ryan Tedder.

A few songs titles David was willing to reveal:  “You and I” and “Tonight is On Your Side” were written over a few, at times, difficult days with David Hodges. Another song he’s excited about is “With Me Empty” written with is bandmates, Neil Tiemann and Andy Skib. “Boomerang” was written with  Brian Howes during a trip to Vancouver.

For David, the songwriting process begins with chord progressions and the melody.  He compares the process to his Idol days, when theme weeks helped to set parameters, allowing him to explore ideas.

David’s evolving sound will incorporate more piano, and use the guitar as just another instrument rather than “the basis of the song”.

Oh, and David has learned to love the twitter…

About mj santilli 33695 Articles
Founder and editor of mjsbigblog.com, home of the awesomest fan community on the net. I love cheesy singing shows of all kinds, whether reality or scripted. I adore American Idol, but also love The Voice, Glee, X Factor and more!

124 Comments

  1. Very exciting! Yay David~

    Thanks mj for posting. I don’t think I’d look for Cook on Idolatry, if not for your post!

  2. Wheeeeeee haircut! LMAO, priorities, right?

    Slezak is an awesome interviewer. I wished he had asked about producer prospects. I think lots of DC fans are curious about that and hoping the producer prospects– even a short list, could help give some more clues about direction. But the scoop he got is great. REALLY curious about Without Me Empty now. NGL, kinda glad he didn’t mention Make Believe. That song was just aite for me, (for you, RIP Randy if the rumors are true haha, j/k)

  3. David looks rested and happy. This was a awesome interview. Mr. Slezak did a very good job. I love all the insights into the song writing process. He writes music first and then lyrics. I remember reading that from another interview and since I love his lyrics I was surprised to learn he writes the music first. The whole interview is full of goodness. A whole vocal song? Wow let us hope he is able to pull that one off.

  4. Haircut? I was too busy drooling over the shirt. I have my priorities straight too!

    Really, really good interview. Love me some Slezak. I’m really curious about a producer too. If they started looking for one, if they found one, direction, etc. Though (unless I’m totally off) it sounds like they have a lot more writing to still do? Wonder when he’ll hit the studio.

    Not gonna lie, I winced big time at the Ryan Tedder mention.

  5. Well, if we’re going “there,” yeah Cookie looks delicious. Slezak, on the other hand, needs to hold off on the Easter egg attire until, say, never! Love me some Slezak though, so it’s all good (if also blinding!)

  6. Not gonna lie, I winced big time at the Ryan Tedder mention.

    Me too. I’ve been trying to block that out and erase it from memory, but thansk for reminding me, Trina! (Kidding) I keep repeating to myself, though, I love Already Gone, I love Already Gone… even though that’s the ONLY Tedder song I know that I love (Stop & Stare is passable– everything else is borderline hate), I’m hoping it could happen again with DC, if it were to happen– and that’s still an IF at this point. We’ll see. Not to doubt Cookie, but I kinda doubt his Imogen Heap-esque all-vocals track would happen either =P.

    I wish we had more info on the fruits of the writing sessions with Raine and Chantal– how many songs written, demo’d, over how long, etc. One more thing– the song titles are cool-sounding at least, no? Not one of them pings “Anthemic” to me. For the record, I’m totally cool with the band name, I just can see where the haters (of the name) are coming from.

  7. I can’t wait to hear what he comes up with. And looking good Cookie!

  8. Can’t see the interview yet as I am at work, but am so excited to see and hear it! Thanks, MJ.
    Hope Dave takes his time with this record.
    also not thrilled w/ the Tedder mention, but everything else I’m reading so far is positive!

  9. I’m mentally blocking Tedder too. LOL! Cookie’s written with a trillion people, so I will not get anxious about one maybe. Hear that brain? Back off!

    He looks good. THIS is why you get someone professional to deal with your hair, Dave! He seems rested and happy.

    Lot of interesting tidbits to chew on there. I hope he pays a few of the new songs at the casino show.

  10. Great interview, lot’s of info. Can’t wait for record 2. He does look really good.

  11. Cookie looks delicious.

    C is for Cookie, that’s good enough for me….er, what? Haircut? Shirt? I was too busy being fascinated by the bleeding heart peek-a-tat action. Now what were y’all saying about priorities… (Oh okay, I did notice that the red is def back in the hair, and I like.) Yay, so glad this was finally up this morning. Slezak’s serious biznezz tude is kinda adorable. And informative. Dave seems extra excited about With Me Empty. Intriguing title, as is Boomerang. Makes me think of something either coming back to you in a good way, like karmically, or maybe coming back to bite you in the ass. Or a stalkery ex you keep pushing away and they won’t leave you alone and keep. coming. back. around. Like a boomerang. Intriguing indeed.

    NGL, kinda glad he didn’t mention Make Believe.

    Oh YOU. ;) Well, the second verse that keeps evolving still needs a tweek, but I am enamored with the chorus and percussion. I hope he hasn’t given up on it.

    Not gonna lie, I winced big time at the Ryan Tedder mention.

    Oh, yeah, that. I thought he had permanently ducked the Tedder bullet after album one. Just no. Close your eyes, pretend the bullet isn’t there…

  12. For those who can’t see the interview yet –

    Four possible songs with Working Titles for DCTR2 from the EW 3 Part Interview 2/08/10

    1. “You and I” – W/David Hodges – (First song with David Hodges)

    2. “Boomerang” – W/Brian Howes – (“really uptempo kinda rock song”)

    3. “With Me Empty” – W/Neal & Andy – (“very, kinda moody, has some synth in it, very, very different”)*

    4. “Tonight Is On Our side” – W/David Hodges – (Working title of the ‘song in a day’)

    Some Highlights

    Incorporate more piano. Less wall of Sound. More riff based – Maybe something all vocals like Imogen Heap
    “Lot of different ways to get a musical point across”

    Wrote with Claude Kelly, and with Raine & Chantal

    Wrote with Tommy Hendrickson (sp) – no dates or song intel

    ?Max Martin? ?Ryan Tedder? – only mentioned as possible collaborators
    ~~

  13. Happy, energetic, informative, adorable.

    Last night, he tweeted this:

    love that you guys are enjoying the EW interview. Thank you for the great hang, @EWMichaelSlezak. about 9 hours ago from web

  14. David Cook is looking very handsome and happy in that interview. I never get tired of hearing him talk!
    All of these potential pop or pop/rock collaborations are interesting…I’m not sure what to think yet, but Cook always surprises me. I must say that two of my favorite song collaborations on his last album were the ones that involved the Bjorkland/Lund duo (Lie and Life on the Moon), who I consider to be more pop-oriented. (I don’t count CBTM, since they wrote it without Cook!). Overall, I thought that Bjorkland/Lund, Chantal/Maide and maybe Reznick, were his best collaborations. For his more rocking songs, I like the idea of him working with his entire band (really excited about the song with Andy and Neal). When those guys get together, they come up with the best arrangements.

    I’m OK with Max Martin, since he has co-written some good songs in the past. I’m even OK with Ryan Tedder as long as he is only involved in piano backup and not the actual songwriting! LOL. David should nevertheless be careful if he does decide to collaborate with either of them, especially Ryan Tedder, for obvious reasons. I’m not sure whatever happened with the Feels Like Tonight-Daughtry issue but Max Martin co-wrote that song and it’s one of his few rock-oriented songs.

    The hair comments always make me smile. Usually I’m not bothered by anything on his head (although the comments are always hilarious), but have you guys seen Cook’s wiki page? I’m not sure who is responsible for that terrible hair picture at the top (which I’m almost convinced was photoshopped in order to look that bad), but I wouldn’t be surprised if Cook did it for laughs. Anyway, whenever I think that Cook’s hair doesn’t look too great, I just have to think of that particular wiki picture and I realize that it could be oh..so..much worse! Maybe that’s his intention!

  15. I always find David Cook quite fascinating to listen to, whether he is talking or singing. I love that he takes his craft so seriously, yet has a fun, playful attitude. I personally think this cd is going to be incredible. I gotta feelin’…

    I would absolutely love the vocals only song. That is what brought me to David in the first place. For me it’s all about the voice. It is rather interesting that so many of us fell in love with the lyrics on AH, and yet he writes the music first. I would have thought it would be the other way around for him.

  16. For those who can’t see the interview yet –

    And reading my blog post will give those not able to see the video yet the low down as well ;).

  17. Boomerang.

    sunchick, your speculation is intriguing, but I’m hearing this as a peppy remix of Come Back to Me! ;-)

    I too willfully ignored the Tedder reference. Denial works for me.

    The all vocal track sounds fascinating to me and totally do-able for him. After all, he sang nearly all the backup on AH, Permanent was pretty stripped musically, and he loved stepping back during concerts and singing part of Lie acappella. So he seems to have been making his way to (and preparing his audience for) this Imogen Heap-like vocal piece for awhile now. Or so it seems to me… :-) I suppose the bigger question is whether TPTB will allow him THAT sort of creative freedom…

  18. Slezak and Cook together is pretty much guaranteed to be gold. This was no “A Ficus Flows Between Us.” Mike always does his homework and Dave really opens up when someone throws him some meaty questions. This interview made me realize how much the show itself has evolved, that we now expect former contestants to be serious musicians and be able to speak insightfully about their own process. Good stuff.

  19. Great interview, but I would expect no less from Slezak. And, hot dayum, Cook is looking fine, is he not? Rested, relaxed and well-groomed.

    I knew some fans would wince a little at the Tedder comments, but DC needs a hit, and say what you want about Tedder, but that dude can crank ’em out. Cook has done miracles with worse, so I’m kind of hoping that collaboration works out.

  20. With Me Empty – great title: hope it makes the album.

    Love hearing him talk about the process and can’t wait for DCTR2. Love what he had to say about the new musical directions.

    As for Ryan Tedder – the label need that CHR hit and he’s one collaborator who might be able to produce it. So long as he doesn’t co-write the whole album and so long as there is no CBTM2 I will be happy!

    Oh – and DC looks rather fine!

  21. I’m kinda thrilled at the wide ranging and eclectic ideas and collaborators, cause I want a little of everything!

    One thing I notice is that Cook comes across as happy and having a lot of fun but focused like a lasery laser on the song craft. I mean Michael Slezak chose to make his questions primarily about that, for which bless his little music geek self. But I found Cookie’s excitement and engagement totally infectious. He’s certainly come out the other end of a crazy wild two years to what seems to be a very good place.

    Oh, and he looked SO good.

  22. I knew some fans would wince a little at the Tedder comments, but DC needs a hit, and say what you want about Tedder, but that dude can crank ‘em out. Cook has done miracles with worse, so I’m kind of hoping that collaboration works out.

    If it means we get more then two singles next time, I don’t care if Cook sings “Battlefield – the Remix” in a sequinned minidress. “

  23. If it means we get more then two singles next time, I don’t care if Cook sings “Battlefield – the Remix” in a sequinned minidress. “

    Ooh! Please? ;)

  24. sunchick, your speculation is intriguing, but I’m hearing this as a peppy remix of Come Back to Me!

    Heh, maybe, but on titles alone, Boomerang > CBTM, so there’s that. Metaphorical imagery Dave FTW. My main problem with CBTM was the whipped-ness of it and lack of ‘tude. ~ponders~ I’m a boomerang baby, you can’t get over me. You’ll be back when it hits ya…Surprise…right between the thighs eyes.

    Ha ha ha ha ha ha, omg I suck. I think that might even be worse than Battlefield, battlefield, battlefield, get your armor… Maybe I could be the next Ryan Tedder.

    Jokes. If it’s Already Gone/Stop and Stare Tedder and not Battlefield/Halo/Bleeding Love Tedder, it might not be half bad. Although I prefer collaborators that kind of nurture the artist so that the song has the artist’s unique stamp on it rather than, say, Tedder’s method which seems to be a way of squeezing the artist into his signature sound mold. That’s why I was so impressed when I read up on Claude Kelly and he seemed like the anti-Tedder.

    It is rather interesting that so many of us fell in love with the lyrics on AH, and yet he writes the music first. I would have thought it would be the other way around for him.

    Yeah, that’s something to think about. I’m wondering if this method might be something that developed early on, back in the Axium days. From the tiny bit of Axium backstory that we’ve gotten, it seems that a lot of the Cook/Shrout cowrites, the music was mostly Shrout’s influence and the lyrics were typically all Cook.

  25. What a great interview on both their parts. I so wish more of the interviewers over the past year would have taken this route and asked David about more than Idol and how he likes being out on the road, blah, blah, blah. He does seem so happy and focused when he talks about his music. This record is going to be awesome…I can’t wait!

    eta: How could I forget the most important part. Helllloooo David Cook. You really are looking mighty fine there.

  26. Well, I don’t want a remix with Cook singing in a sequined dress, but I would love a Pink/Cookie duet. I think their voices would be great together. Then they could twirl and sing upside down together next year at the Grammy’s. Don’t laugh – remember that high school video of the musical where he sings while doing backflips right off the stage? Yeah, he could handle the silks as Pink referred to them on Oprah! OK, I am joking about the silks, but I would love a duet. And yes, I know that will never happen!

    Seriously though, the new interview has me very excited to hear new Cook music!

  27. Tedder? He mentioned Tedder? I have no idea what y’all are talking about. I didn’t hear no Tedder.

    I’m really liking the idea of the With Me Empty song (moody with synths and very different) as well as the all-vocals song. I can’t wait for this album.

    My favorite collaborations of his in the last album were with Wattenburg/Reznick, Maida/Krevaziuk, and Maloy. I’m not thrilled about all the pop hitmakers being brought on board because wasn’t that what Espionage came in for for the last album? And look how that turned out (I’m looking at you CBTM!). Eh. At least Claude Kelly sounds like a cool dude and based on what I’ve read tries to write to help reflect the vibe of the artist. Max Martin is REALLY pop but he writes for P!nk too and I like her.

    I’m not sure whatever happened with the Feels Like Tonight-Daughtry issue but Max Martin co-wrote that song and it’s one of his few rock-oriented songs.

    What Feels Like Tonight Daughtry issue are you referring to?

  28. Call me a romantic, because I liked CBTM. Especially the video.

    I don’t mind some of Tedder’s songs. And of course, some of his songs I don’t care for at all. But, I would trust Cook to make it his own. That is what is great about Cook, he really knows what he wants his music to be. He has a vision for himself. I love that he has lofty goals. He is always changing and progressing. And it’s always about the music for him. It is all quite fascinating!

  29. RE: music and lyrics.

    I read a comment recently from Travis, late of Axium – apparently a clarification after an interview with Jeff Shrout about his new band.

    He made it pretty clear that on most of the Axium songs, Shrout came in with the riffs, the band worked them into the overall sound and then Cook wrote the lyrics.

    So, if for nothing more than this implies that his working method is consistent with his pre-Idol work, I was happy to hear his take on this.

    Ditto what he said about the piano – and saying that he’d used it in his earlier work – i.e. pre-Idol.

    I’m hopeful that he’s channelling some more of the pre-Idol DC into this album – though, to be fair, I think he is there in DCTR too. Even if the whole thing still has to go through the RCA, major label, mainstream levelling process.

  30. Oh, wow. Now didn’t this just make my snowed-in day! I am almost ok with the snow plow not getting here yet. I’ll be ok once I watch it again. Had to watch it twice already because the first time, well, he’s awfully pretty. And he distracts me. And then I had to listen again because I love when he talks about his music, and now I’m all stupid excited for new music. I want the With Me Empty song NOW. Thanks. Hee!

  31. What Feels Like Tonight Daughtry issue are you referring to?

    They were sued by another band who claimed that “Feels Like Tonight” was a ripoff. The chorus for both the songs sounded similar, but I don’t remember the name of the band or how the issue was resolved. I think there was a thread on MJs about it in 2008. Daughtry was not involved in co-writing that song, though.

    I’m not thrilled about all the pop hitmakers being brought on board because wasn’t that was Espionage came in for for the last album? And look how that turned out (I’m looking at you CBTM!).

    Espionage was responsible for CBTM (which had no input from David), but they also collaborated with David and others to produce Lie and LOTM. So while I agree that it’s not a great idea for pop-writers to pen songs for David without his involvement, I think the collaborations actually do strike a very good balance.

  32. Slezak’s serious biznezz tude is kinda adorable.

    More adorable? The Easter egg ensemble, as someone upthread mentioned. I totally have a platonic opposite crush on Slezak haha.

    I knew some fans would wince a little at the Tedder comments, but DC needs a hit, and say what you want about Tedder, but that dude can crank ‘em out.

    I’ve been kinda hoping his star was fading after Leona’s Happy tanked. Happy was HORRID. My prejudice aside though, more than likely, Tedder is still capable of cranking out radio hits, so we’ll see.

    If it means we get more then two singles next time, I don’t care if Cook sings “Battlefield – the Remix” in a sequinned minidress. “

    Who are we kidding, like THAT would be a compromise for the fans. We would SO enjoy that, haha.

    About writing the music first, I think that sounds great. I recently watched It Might Get Loud (which was awesome btw), and the part where we get to the three guys, Jimmy Page, the Edge, and Jack White riffing on their guitars to show each other how some of their greatest songs came about was fascinating. We got to see how Jimmy Page came up with the riffs in Stairway to Heaven, Jack White with 7 Nation Army, U2 with something else (sorry it’s been a while), and these are unique AWESOME riffs that everyone recognizes. Wow, if those legends can come up with that level of genius starting with the music, I’m hoping focusing on the music first could yield some great results for DC.

  33. Tedder make s me shudder not because I hate all his songs.. I don’t. But I don’t think he’s really good as changing his sound to fit the artist involved, which is okay if the artist fits Tedder’s style but I don’t hear how DC’s vibe fits with his at all. Even the Apologize/Stop and Stare stuff – which is decent pop/rock IMO – is not very DC to me. And I’ve never had the impression that Tedder lets people take too many liberties with his songs, which lessens the chances of the band getting a hold of it and dirtying it up a bit. But we shall see. Its only a maybe, and for all I know if they do work together it could turn out incredible.

    Now Max Martin sounds good, because he’s done some stuff in the past that is quite DC-ish to me. So that is exciting. And Claude Kelly seemed like he had possibilities too.

    The biggest take-away on these names, for me, is that the label does seem to be talking about spending some cash. Which is a good sign.

  34. Oh, and I doubt he could get it onto an album but an all-vocal track from him? It might hypnotize me. I wouldn’t be able to listen while driving. Just sayin’ (and I know how I felt when he did that a cappella part of Lie when I saw him in concert…).

  35. I have aquestion about the vocal’s only song David mentioned. I personally would love that, btw! But, my question is, why would that be so hard to get past TPTB? It would only be one song on an entire cd. It’s not like he would do an entire album that way. Although, I would buy that too! I’m addicted to his voice! Lol!

  36. Great interview! I love Slezak. I think HE should become the new judge on AI.

    Methinks Dave and Michael kinda dressed up for each other, eh? LOL

    Dave is looking mighty fine! I LOVE hearing about the new music. Love the different avenues he’s exploring. Now, I just want to HEAR the new music! And not a 20-second snippet, either! Let’s hope the Morongo concert will produce some new Cookie crumbs. I’ll take whatever I can get.

  37. Awesome, awesome interview. So much goodness, and I very much appreciate Slezak asking in-depth questions about the songwriting process.

  38. If it means we get more then two singles next time, I don’t care if Cook sings “Battlefield – the Remix” in a sequinned minidress. “

    I would pay cash money for this, just sayin.

    What a great interview. Thank you Michael Slezak for asking good questions and actually letting Dave answer them. Loved getting to hear Dave talk about the record making process, and seeing him seemingly happy, engaged and enthusiastic in what he’s been working on was awesome. Some of the tidbits he dropped about the sound on the next record were really intriguing. It always seemed to me that they were really going for “cohensiveness”on DCTR, it would be nice to get a little more variety and experimentation on this record.

    I wouldn’t mind seeing a reworked Make Believe on the record. The chorus and instrumentation are really strong I think. The verses need some more work to my ears. I’m not a big fan of the “emphasizing the same syllable on every line” approach to song structure and the lyrics kind of go to that Hallmark Card place. But it has a lot of potential IMO.

  39. It always seemed to me that they were really going for “cohensiveness”on DCTR, it would be nice to get a little more variety and experimentation on this record.

    I hope there’s more variety as well. Not something that’s all over the place, but they took cohesiveness to a bit of an extreme on last record, and the middle of the album started sounding a bit like one long mid-tempo song. Sorry… they’re good live, though.

    I get the feeling from his wording that the up-tempo rock song Boomerang, and the moody with-synth Without You Empty may be the outliers in terms of the sound he’s come up with thus far… just the way he said we’ll see where Boomerang fits, and how With Me Empty was very different. Strangely, that makes me most excited about these two songs. I hope they don’t get kicked out for “fit”. I remember DC mentioned Kiss On The Neck and Breathe Tonight being left off the main album tracks because of fit… and OMG Cavallo, I could kick him, cuz those two songs are two of my favorite tracks on DCTR as-recorded. It really hurt the overall strength of the record when those two songs got relegated to hidden/bonus tracks.

  40. I hope they don’t get kicked out for “fit”. I remember DC mentioned Kiss On The Neck and Breathe Tonight being left off the main album tracks because of fit… and OMG Cavallo, I could kick him, cuz those two songs are two of my favorite tracks on DCTR as-recorded.

    I completely agree sma11ie. I would have dropped some of the mid-tempo songs for these two as well. Although it’s possible “fit” really means “RCA didn’t want them” in Dave-speak. I’m really curious about the producer, interesting that appears to be still up in the air at this point.

  41. David’s mention of Max Martin really piqued my interest. Wow, just wow if Martin ends up being the producer selected for the new album. Max Martin (nee Martin Karl Sanberg) is a Swedish genius… he pretty much discovered Chad Wolf while he was interning for Diane Warren, brought him to Sweden and assembled Carolina Liar. There would be no Carolina Liar without Max Martin. My two worlds collide!!! I flove CL. As others have mentioned, Martin also produced Kelly’s “Since You’ve Been Gone” and “Behind These Hazel Eyes.”

    http://en.wikipedia.org/wiki/Max_Martin

    From wikipedia:

    he has written and co-written five number one hits, including “So What” by Pink, “Hot N Cold” and “I Kissed a Girl” by Katy Perry, Kelly Clarkson’s “My Life Would Suck Without You”, and “3” by Britney Spears.

    I’m not worried about Martin’s association with pop. He has done plenty of rock and Carolina Liar is a great example of commercial alternative rock that’s just great music.

    I think it’s becoming clear that Cook himself places a high value on at least one break-out CHR hit from the new album – with the lead-off single being the most important and most likely.

  42. I listened to the interview – yay – while staring at the lovely Mr. Cook. Love that this interview focused so much on the music. I so want David to get that big breakout hit!

  43. Yeah, I picked up on the same thing, sma11ie and progression and had a similar response. I’m pretty sure its a label mandate, as it was on the first album. Lets visualize Dave putting on his armor here and winning this fight, at least to get the guys song on the album. I get the impression that it might still be an uphill battle to get any of the band-penned songs on the album. My guess is that their tunes might not be considered commercially mainstream enough to suit the label. Of course, this is all just conjecture.

    Also, since folks here are talking about the cohesiveness of the first album, how do you jive that view with Dave’s continuing to refer to the chaotic feel of the album? Do you think that is simply his projection of how he was feeling while recording it, or if not, what do you think he is referring to? That’s about the last word I would use to describe DCTR and I don’t believe I’ve heard anyone else besides Dave define the album in that way.

    ETA: I was also noticing the omission of any talk of a producer. Don’t know if it was edited out per label’s instructions or never discussed. Maybe Dave wants to release that info with more fanfare, like on a vlog. I would think by now they either have a producer on board or have a very short list and are close. Didn’t Dave talk about getting into the studio in Feb and March?

  44. As a lyrics first girl, I’m not so much concerned about sameness in tempo or sound as I am about the lyrical content. For me with David’s past work, the lyrics supplied a lot of the important cohesion. IMO, David has a fairly distinctive lyrical style and it’s not something he should compromise too much. Tweak and refine, yeah, but not water down. When he’s talking about universality of the lyrics, then, the way I see it, he could mean one of two things. One, he’s still considering the advice of that anonymous schmoe who told him to dumb down his wordy wordiness for mass consumption (noooo!), or two, he’s talking about the way he tends to take something more personal and then write about it in ambiguous, universally applicable terms so that people can extract their own meaning from the lyrics. Or something like that. See: all of Analog Heart, WOHWWS/MB/Souvenir and other variations of the bad relationship as a metaphor for whatever crap you’re going through, Life On The Moon, etc etc. I think, think he means the latter.

    Lets visualize Dave putting on his armor here and winning this fight, at least to get the guys song on the album.

    ~pictures David as Branagh in Henry V, giving the band penned songs a St. Crispin’s Day type pep talk before meeting with the label peeps.~ Works for me. ;)

    Methinks Dave and Michael kinda dressed up for each other, eh? LOL

    Awwww. Those boys. If you watch it on full screen (what?) you can see lit candles in the background. Swanky.

  45. Since I love Dave’s lyricism, I hear your concern, sunchick. I want Dave to not only bring his musical sensibilities to his songs but also his lyrical sense. Knowing he starts with the music, I just hope that his lyricism isn’t lost in the process of working with his collaborators. Certainly, tweeking and refining is great. I see how he still has some learning to do on the craft of songwriting, but I also hope he doesn’t water his lyrical heart down too much in the service of commercial appeal. I do think that is one part of what he means by ‘universality’ although I’d guess he actually includes both of your scenarios in the meaning – writing songs that have both mass appeal and have multiple meanings that many can relate to.

  46. Also, since folks here are talking about the cohesiveness of the first album, how do you jive that view with Dave’s continuing to refer to the chaotic feel of the album? Do you think that is simply his projection of how he was feeling while recording it, or if not, what do you think he is referring to?

    I understood him to be referring to the process as chaotic – trying to write, record and tour all at the same time – rather than to the record itself. JMO and all that.

  47. Also, since folks here are talking about the cohesiveness of the first album, how do you jive that view with Dave’s continuing to refer to the chaotic feel of the album? Do you think that is simply his projection of how he was feeling while recording it, or if not, what do you think he is referring to? That’s about the last word I would use to describe DCTR and I don’t believe I’ve heard anyone else besides Dave define the album in that way.

    Yeah, I don’t think he was getting at a chaotic album feel either, but just the process. Okay, so I read a lot into DC’s facial expressions and body language in interviews, and this may be ass talking and projection, but I kind of feel like he just wanted to divert that particular line of questioning about mistakes on the first record, just because he’s diplomatic DC, all.the.damn.time. He just pulled something out of his ass to kind of answer the question about the Idol rush job, and moved on. I really don’t get any sense of chaos musically– I’m sure the process was chaotic for him, but I don’t think he meant it translated musically IMO. I think he was just doing what they always tell you to do in job interviews, which is to answer a question about your weaknesses by spinning it into a positive, i.e. frame it as, yeah it was rushed, but I loved that chaos about it, and it turned out just as I wanted etc. Not to say he’s being dishonest, but at this point in his career, it serves him little to publicly point fingers at any collaborators or TPTB’s that were responsible for any of the mistakes on the last record. I love Kelly C and everything about that girl, but DC is not in her position at this point IMO. Besides which, it doesn’t seem his style I don’t think. That’s just my read of the situation, anyway. Promise you, I’m aware I can be ass talking ;).

    Scott, I’m excited about Max Martin as well. Not sure about his producing– I worry about overproduction (did he write and produce or just write Allison’s FIBOU) but he writes some great pop-rock hits.

  48. Sigh, I gotta stop watching this. I just love hearing him talk. I can’t help it. Well, *watching* him talk. Lips and all.

    I want more of wordy Cook, actually, so I hope we get some of that back. I knew Daily Anthem was him as soon as I heard the first two lines :) .

  49. Awwww. Those boys. If you watch it on full screen (what?) you can see lit candles in the background. Swanky.

    Nah, I didn’t do that… *nervous laugh*

  50. Well, Dave says about the last album, “there’s some chaos in it”. Maybe the operative word here is ‘some’, as in ‘a bit’. I think he’s referring to the fact that Bar-Ba-Sol and Permanent are co-existing there amidst the range of soft to harder songs. But who knows what part of my anatomy may be speaking?

    Max Martin? I’m trepidatious about it. Sure, I want Dave to notch a couple of big hits, and he certainly is known for getting them. But it always gets down to the question of ‘at what cost?’ I want the music and lyrics always to be predominantly Dave, and Max has a reputation of having a very noticeable style, as does Ryan Tedder. That over-produced middle of the road style of theirs, is what gets me to turn off my HAC radio station to hear a purer, more real kind of music. It’s like they’re tuned to crank out mass consumption music and lose alot of what I love about music in the process.

    Maybe Dave can keep his dominant voice if he was to work with either of these guys, I don’t know. I do think its critical that Dave continues to build a strongly identifiable sound and this is when it really coalesces – on this album. Having the possibility of Max Martin’s fingerprints on that brand is not something I’m jumping up and down about, no. Also, I just can’t tell who Dave wants to work with versus who the label wants him to work with. Dave is so good at being a good loyal team player, its really hard to judge.

    But there are some things I did notice. Dave seemed to get way more excited about the city of Vancouver than the song(s) he came up with there. The song he seemed most excited about, the one co-written with Andy and Neal, is also the song he seemed least certain would make the album. Overall, I get the impression that there are commercial trade-offs he needs to make to get where he wants to go. And when he needs to sell those songs, he goes into work mode. I look where his eyes light up instead of what he says. (We do know he’s only really honest when he’s sleeping). I think he’s most excited about his ‘lofty’ ideas, probably so-termed by his label. Chances are we’ll only get to hear the full expression of those ideas somewhere down the road. For now, I think he’s trying to incorporate as many of the elements of his visions and passions as he can get away with and make an album now that he can be proud of, that sells well, builds his fanbase, pleases his current fanbase, and gets him to the next album where he can continue to explore his musical ideas with increasing freedom.

  51. He has done plenty of rock and Carolina Liar is a great example of commercial alternative rock that’s just great music.

    I’m not seeing any “rock” on Max Martin’s discography as far as production credits in the past five years go – he looks about as pop as you can get to me. And the only “rock” songwriting credits are for Carolina Liar, which is pretty soft rock indeed. Really hoping this isn’t the producer.

  52. Yeah he did say at one point February/March for getting into the studio but things do change so who knows if the timeline is still the same. I didn’t get the vibe that they’re all that ready to hit the studio that quickly since future collabs were brought up. I also didn’t really get the feeling Max Martin would be THE producer. I figured he and Ryan were mentioned as potential writers, though I would have to watch it again to be sure.

    Ya know I guess its always possible they decided to go the multiple route (tbh I wouldn’t mind that). It might be a nice change of pace.

    Eta: lol yeah progression ITA. Max Martin may have wrote/produced the occassional rock act which I can count on one hand. Dude is mainstream pop.

  53. I’m not seeing any “rock” on Max Martin’s discography.

    He helped write for Apocalyptica, which is actually a metal band.

    And as many have said here for quite awhile, Pink would be considered rock if she weren’t a girl. AAR is still considered a rock band and some of her stuff is just as driving as theirs.

    So I don’t object to Martin-as-Martin at anywhere near the level that I do with Tedder-as-Tedder. DNW Tedder.

    On the flip side, I guess I’m just starting to do math. The average album gets three singles; the average monster album gets five. The average album lasts twelve songs. How many sessions with supposed surefire hitmakers are required to get the requisite amount of pop-friendly singles before you let an artist start writing with people from left field and trying new things?

    But there are some things I did notice. Dave seemed to get way more excited about the city of Vancouver than the song(s) he came up with there.

    Eh, I think he wouldn’t have talked about Boomerang in the exact terms of some of his stated goals for the album if he weren’t enthusiastic about it.

  54. Max has a reputation of having a very noticeable style, as does Ryan Tedder. That over-produced middle of the road style of theirs, is what gets me to turn off my HAC radio station to hear a purer, more real kind of music. It’s like they’re tuned to crank out mass consumption music and lose alot of what I love about music in the process.

    You took the words right out of my mouth, Movin2thabeet.Hearing those names mentioned made me sigh.
    I don’t think he has as much control over his record as he would like us to believe; the price of winning………

  55. But there are some things I did notice. Dave seemed to get way more excited about the city of Vancouver than the song(s) he came up with there. The song he seemed most excited about, the one co-written with Andy and Neal, is also the song he seemed least certain would make the album.

    Heh. You got the same feel for what he wasn’t saying and what that might mean. I’m glad you brought up the Vancouver thing because when he was there he seemed really psyched at first and then right before he left, he tweeted about how although he had fun it was definitely time to go home. Not that I’m grieving about the possibility that the collab with Howes probably yielded nothing exciting. Howes is big on Hinder after all. Not my cuppeh and I don’t think it’s DC’s cuppeh either, musically speaking. (But yeah, he’s very good at misdirection when he’s not really in a position to say something overwhelmingly positive about the main thing that’s at issue.)

    As for the Neal/Andy collab, I do like his looking stoked about that “With Me, Empty” song, but yes, he did seem a bit tentative about the song. But I’m chalking most of that up to the fact that (though he didn’t say it in so many words) the song is not yet finished. So hopefully it’s that and not so much his knowing that TPTB won’t let the product of that collab into the album.

  56. I don’t think he has as much control over his record as he would like us to believe; the price of winning………

    I dont think winning has much to do with it actually. Is there any Idol, winner, runner-up, whoever, signed to Sony/19R that has been granted complete and total control over their albums? Hell Kelly is well established passed Idol and she still seems to be fighting RCA.

    Oh..I forgot to bring up the pic that popped up the other day with Steve Van Zandt in that NY studio. It was David, SVZ, the studio engineer and studio manager. Wonder what was up with that? Claude Kelly normally works out of that same studio but he wasnt in the pic..was SVZ working with David Just hanging out? Questions, questions..

  57. I’m actually quite surprised at the number of collabs he’s been doing. A few months ago I was sure the next album was going to be mostly solo Dave and Dave/Andy/Neal co-writes. I wonder whose choice all these collabs are–Dave’s, or the label’s?

  58. The average album gets three singles; the average monster album gets five. The average album lasts twelve songs. How many sessions with supposed surefire hitmakers are required to get the requisite amount of pop-friendly singles before you let an artist start writing with people from left field and trying new things?

    Indeed. I think David might be sorta between a rock and a hard place. On one hand, the idol watchers are expecting him to either break out larger with this album or get stuck in the second tier (successful, but not superstardom) of AI alum hierarchy permanently. Since RCA didn’t try a third single from DCTR, you gotta figure they are putting all of their eggs in the second album basket, too. If he wants the mega-break out to happen, he’s going to have to play nice with the label and have their full support. To them, this probably means maybe going for a surefire CHR-hitmaker co-penned tune or five.

    That said, on the other hand, the fans who are more invested in David musically and not so much all about the career trajectory are hoping that with this album the AI winner’s shackles come off. I know I had “lofty ideas” that centered around David’s creativity being let out of the stable to run free and go wherever the mood strikes. I’ve seen a lot of youtube comments on some of David’s older, harder stuff that say things like, “I hope this is the direction he goes for his second album, now that he’s free to do what he wants.”

    The question is, how do you find a happy balance between the two? I wish him luck and if anyone can figure it out, it’s David. I guess we’ll see as time goes on. I am hoping he realizes that while this is a make or break album, sometimes big rewards come from big risks. I hope he’s not so freaked out by the do or die notion that he is overly trepidatious about pushing for the songs and sound that he believes in the most. I think the people might respond to that better than the label (or 19) might think. That’s kinda how he won AI in the first place, yes?

  59. The question is, how do you find a happy balance between the two? I wish him luck and if anyone can figure it out, it’s David. I guess we’ll see as time goes on. I am hoping he realizes that while this is a make or break album, sometimes big rewards come from big risks

    I completely agree that if anyone can figure this all out it’s Dave. It’s been pretty amazing watching him navigate all this over the past year. For myself, I know that even if the record isn’t everything I might want artistically, there will be things on that I like (and some I probably love) and the live shows will be awesome. It might take him a few records to establish himself to the point where he can really stretch his wings the way some of us who love his pre-idol work might like. That said, if he managed to write next year’s Use Somebody I wouldn’t be mad at him or anything.

    But yeah, he’s very good at misdirection when he’s not really in a position to say something overwhelmingly positive about the main thing that’s at issue

    lol Keel. “Very good” being “the master”, right?

  60. progression, as we like to say here at mj’s, the man can have a nice fall-back career in the diplomatic corps if this whole music thing doesn’t work out.

  61. And the only “rock” songwriting credits are for Carolina Liar, which is pretty soft rock indeed.

    Carolina Liar had multiple big hits on the Alternative format. They are considered a rock band.

    He also did stuff with the Veronicas and Bon Jovi. He did an actual god honest Country song with Carrie. He does have some versatility.

    That said, I don’t know about producing the whole album. A song or two fine, but the whole shebang? I mean, it would get DC some attention, but…

    I don’t think he meant that anyway. He was clearly talking about a song or two, though it is always a possibility I suppose.

  62. He wasn’t really talking about Martin as a producer, anyway, just as a potential cowriter. Martin has occasionally written songs which he didn’t produce.

  63. Carolina Liar had multiple big hits on the Alternative format.

    Looks like three? None of which were produced by Max Martin. In the past five years he was involved with Bon Jovi’s “It’s my Life”, Daughtry’s “Feels Like Tonight” and Apocalyptica’s “I Don’t Care”. That’s about it for “rock” I think? Again I’m not trying to bash the guy, he’s clearly been really succesfull at what he does and if he can help Dave get to where he needs to be with a Top 40 friendly song or two then great. BUt I’m really not seeing him as being the right person for the producer.

  64. So far, Dave says he’s ‘scratched the surface’ of his ideals for this sophomore album ‘a little bit’. To me, this means he’s yet to get to the real meat of what he envisions for this album. That raises big questions for me – Will he have the chance to get to the core of what he’d like to do for this album? What is it he needs at this time to do so – time, opportunities, support? How are his ideals being received by the label and the A&R guys?

    Knowing at this point how Dave approaches these interviews with care to walk the label line, its difficult to ascertain how much he’s getting what he wants at this point. Considering there has been no mention of a producer or getting into the studio, I’m guessing that he’s still thrashing out the concept and direction of the album with the label.

    I have felt much as Sunchick expressed, that Dave has a very tight channel to navigate. He needs this album to be big, but there’s still this push/pull between those who want to hear him reinvigorate the rock world with his unique creative voice, and those who want to hear a more mainstream pop/rock sound, all a consequence of the 2-sided coin we call American Idol loaded with huge expectations and heavily weighted toward the pop world.

    I do think Dave knows what he wants, knows where his balance point is between the give and the take, knows what to fight for and what to let go of and is a quick learner on how to play the game with the label. I think by the end of the month, we’ll have a much better picture of how this album is shaping up – through the upcoming concert, the release of info about a producer and studio time, and actual collaborator news. Until that time, its about squeezing out the little tidbits we do have, trying to get out all the possible contents held inside. Yep, he’s a master, alright.

  65. Looks like three? None of which were produced by Max Martin.

    I was just addressing whether or not Carolina Liar is soft rock. They are not, they are alternative. That’s all I was trying to say.

    Max Martin is the svengali behind that group. He discovered the lead singer/songwriter, handpicked the band and oversaw the whole project. I think. LOL.

    BUt I’m really not seeing him as being the right person for the producer.

    We agree on that. I’m not seeing that as a great fit, but who knows.

  66. Labels – they’re both a continuum and a selling point. To my ears, Carolina Liar has a pop/rock sound. Maybe they could be called pop alt or something. I don’t think Max Martin does rock. Even his ‘rock’ songs have a heavy dose of pop in there, even the ‘metal band’s Apocalyptica’s “I Don’t Care” which is really a cello metal band. I gave it a listen, and I still hear pop/rock. http://www.myspace.com/apocalyptica

    Of course, that’s not necessarily a bad thing. There are many DC fans that want to hear more of that sound. There’s something about Max’s signature that is just too tightly formulaic for my tastes. But probably that’s why it sells – its familiar and easily digested.

  67. Word to everything you said, progression and movin2thabeat. Even though the more we get to peek into the process, the more it seems like David has a herculean task ahead of him, I’m still kinda zen about how much I’ll dig the next album. If he can come up with DCTR under such chaotic conditions (U C whut I did thar) with the end result being I like to love 80% of the thing plus it sounds pretty freakin awesome live, and it has a few gems that I totally want to hug and call George like Permanent Mr. S and ADAM, well, yeah. Course that won’t stop me from making some sort of anti-Tedder-voodoo talisman and sleeping with it under my pillow, but I do that anyway. ;)

  68. Well, I am happy to leave all the details to David and his team. I know one thing for sure and that is that I will enjoy what he comes up with!

  69. Even his ‘rock’ songs have a heavy dose of pop in there, even the ‘metal band’s Apocalyptica’s “I Don’t Care” which is really a cello metal band. I gave it a listen, and I still hear pop/rock.

    It’s hardly atypical for metal bands to use symphonic instrumentation. It might just be semantics, but I still don’t know what some people mean by claiming that songs that chart, consistently, on the rock formats are “just” pop-rock. I think rock is a big envelope, but I would appreciate some examples of songs that are currently charting that are not pop-rock (and also not tuneless and turgid, if that can be managed).

  70. Ultimately the term ‘pop’ refers to songs that are massively popular. Right now, in general, most songs charting on Alternative radio are not ‘pop’. Doesn’t mean that can’t change sometime down the line but mass ears just aren’t vibing to that sound. Take the top 2 songs as an example, Phoenix’s “1901” and 30 Seconds to Mars’ “Kings & Queens”. I don’t hear that contemporary pop/rock sound at all. It doesn’t fit into a nice tidy container – it punches out walls as necessary to fit their own unique voices. Yes, rock is a huge nebulous container that near everything nowadays is thrown into to the point of making the term nearly meaningless. But hey, we need to communicate and find agreed-upon terms, so discussion is good.

  71. Take the top 2 songs as an example, Phoenix’s “1901? and 30 Seconds to Mars’ “Kings & Queens.”

    I’m very fond of both those songs, but to me they have just as much of a “popular” focused sound as some of the songs you’re suggesting are pop-rock. K&Q is sprawling and bombastic but also intently melodic and not outside any usual bounds rhythmically. And the idea that 1901 is anything other but incredibly poppy? It’s synth-laden, vocally processed, and a lot of other things that get dropped in pop’s lap.

    Maybe it’s worth putting aside, because this is honestly coming off very Oliver Wendell Holmes to me.

    And I think that rock’s flexibility is what has stood it in good stead, so I’m happy to claim those songs for the company. I’m sure that some of Cook’s collaborators are going to get to similar places.

  72. As a lyrics first girl, I’m not so much concerned about sameness in tempo or sound as I am about the lyrical content.

    I’m pretty much equally concerned with the music as the lyrics– maybe 51% music, and 49% lyrics. I mean, at the end of the day, a song draws me in cuz of the music, and then once I’m sufficiently drawn in, I listen to the lyrics, and it solidifies my love if I can connect to the words. Bad lyrics can turn me off an otherwise good song such that it stays at mild like without progressing to love, but a horrible song with kickass lyrics wouldn’t even catch my attention to begin.

    I like that DC is focusing on the music first, because honestly that is is weakness IMO. It’s important that he focuses on crafting some kickass melodies, and I trust that his wordy brain would not fail him in fitting good lyrics that match the vibe of the music. Except for I Did It For You, I have no complaints about *bad* lyrics really from the DC-penned tracks from DCTR. Some are better than others, none are bad, except, like I said, I Did It For You– sorry, those lyrics are a little cheesy for me.

  73. The fanbase doesn’t need to accept or get over anything as a single unit.

    My personal opinion is that the snippet sounded anthemic-by-numbers generic (although I’m willing to believe it could be tweaked), and while some of the lyrics give me pause, the chorus for Make Believe is one of the hookiest things he’s come up with in a while. I don’t think it reads CHR hit at all, but I also don’t think every single song on an album needs to. “Not a single” != “filler.”

    ETA: offside, KC is the only AI alum who had stronger sales for her second album than her first. I don’t think RCA is expecting another platinum album (hoping, maybe, but not expecting). As long as he and the band make a profit for the label, he should be able to keep his contract for at least one more album. We don’t know where that inflection point is, but a lot of people have guessed a gold album with a strong-selling single or two should do it in this economy. And a song that performs even just as well as LO did would probably sell strongly enough, because singles sales have gone up in the past few years even as album sales were still declining.

  74. I read lots of folks expressing the need for David to have bigger charting singles from the next record.
    Suppose it doesn’t and it’s sales don’t surpass the first record. What happens then ? Does his label drop him ? Would that then lend him the
    opportunity to seek out a deal with another label ( perhaps a smaller one with a less illustrious list of co-writers on hand? I don’t know how these things work. )

  75. The general sense I’m getting from just the couple blurbs that were posted here about the writing sessions for the sophomore record is that both Cook and his collaborators seem to have a better understanding of what kinds of songs, or rather what kind of David Cook songs, have the potential to hit. […] If nothing else, that song […] should be a no-brainer to hit #1 on HAC. Now can a song like that go top 15 or even top 10 on CHR under the name “David Cook”? We may get to find out, but if nothing else, it should be a lock to

    I liked the snippet but I’m not THAT crazy about it. If I’m honest, I think one sense I’m getting from learning about DC’s collaborators this record is that the label is giving up on rock radio and aiming squarely for that #1 HAC, top 20 (dare we say top 10?) CHR. If neither Light On nor Bar-ba-sol got any play on rock, then they should pretty much consider that format dead to them. Sad, but true. LO was not the strongest choice for maximum CHR potential for a first single, but RCA was trying to flirt with rock. It was a calculated risk, but now they know. Always go with the song with maximum CHR potential. Sure, some CHR radio may have something against playing David Cook, but ALL rock radio has something against him, IMO, so that’s a good choice to stick with CHR. That’s my take, anyway.

    KC is the only AI alum who had stronger sales for her second album than her first. I don’t think RCA is expecting another platinum album (hoping, maybe, but not expecting). As long as he and the band make a profit for the label, he should be able to keep his contract for at least one more album.

    Not sure how many are still around for this speculative question: are album sales continuing to decrease at the same rate year-on-year as they have been in the last, say 5 years, or is the rate of decrease slowing down?

    If the latter, combined with the perfect storm of some big radio hits, I think DC is very much in a position to be the second Idol after KC to have better 2nd album sales. Mind you, not better opening sales, that’s nearly impossible without Idol momentum, but eventually surpassing 1.3 million shouldn’t be that out of reach for a hit album in 2010, I don’t think.

    KC’s first and second album came out a year apart (2003 and 2004). Thankful went 2x (nearly 3x) platinum, while Breakaway went 6x the following year.

    Some Hearts came out in 2005, Carnival Ride came out in 2007. SH went 7X platinum, CR 3X

    DCTR came out in 2008, and DCTR 2 will come out in 2010.

    Record sales have gone down a lot from 2005 to 2007. Thing is, DC is starting at a smaller goal, and record sales may not have gone down by as large a rate, I don’t think. Point is, he can do it. He just needs a few hits. Fingers crossed :).

  76. Album sales between 2005 and 2007 declined 19 percent. Album sales between 2007 and 2009 declined 25 percent. 2010 looks like it’s stabilizing somewhat, but sales should still be 10-15 percent below 2008.

    IMO, to be a big album seller, one either needs to a) be totally massive on mainstream or b) have a non-mainstream format to help generate the crossover singles that get added to the mainstream panel at the same time, and, of course, maintaining alternate AI streams from more album-ready consumers. I don’t expect Cook to magically become totally massive on mainstream because even CHR-friendly rock artists have problems pushing anything past the leadoff single. And the rock formats are, at the very least, a continued challenge. He has HAC, which is great, and it will move units. But I can’t think of anyone who moved platinum from success largely on that format.

    People can hope for the best, of course. But I think it’s realistic to expect some decline. I personally would be delighted with 600K and a good single and over-the-moon ecstatic with 800K.

  77. Whatever, noctem. “All that I am, is in the palm of your hand, so make believe that you give a damn” and “tell me where does love go when it dies” is some good shit. That’s my story and I’m stickin to it. Some of my favorite songs in general are deeper album cuts that were never released as singles, so I’m not insulted. To each his own.

    It’s important that he focuses on crafting some kickass melodies, and I trust that his wordy brain would not fail him in fitting good lyrics that match the vibe of the music.

    Fershur. The thing I, personally, tend to love best about David’s music is the lyrics, so that bit in the interview about the lyrics captured my attention. But of course I’m also glad that he’s branching out musically and trying to keep it interesting because the music is obviously important. I love a really cool riff, or a kickass beat. And sometimes when I have a fever the only cure is more cowbell. And Cook would have to write some pretty outstanding lyrics to, say, get me to buy a whole album of glockenspiel music. Although I do dig a slammin xylophone solo. Seriously..

    I personally would be delighted with 600K and a good single and over-the-moon ecstatic with 800K.

    Sounds reasonable. Honestly, I’ll be thrilled if he manages to go gold and get another tour out of the deal. Moar tour! Moar tour! But there’s potential for it to go bigger than that, and smaller than that, and I’m sure that’s tied up in the first single and how it goes over. ETA: Trina, I’ve wondered about the timing of the release. Xmas-ish releases tend to sell bigger, right? But it might be good to release on a week without a lot of competition and hope for a high chart position to add to the press releases.

  78. I have no idea how this album will do. I think it will depend on the songs on the album. Will he have a CHR hit? I don’t know. I think HAC will play him. CHR is a big question mark for me. But so far I like what I hear. This article was wonderful and I think he is on the right track. I read somewhere that you should do 10% of your previous albums total sales the first week. So for the first week if he sells 130,000 I would say he is starting off well. I hope he has another platinum album and at least 3 radio hits and I am not sure if he needs a CHR hit to be successful.

  79. I personally would be delighted with 600K and a good single and over-the-moon ecstatic with 800K.

    Ditto. Gimme one or 2 strong selling singles, the continuance a strong consistent HAC presence, an album that sells gold plus, and another profitable tour and I’ll be happy with Cookie. I hope that’s what RCA would be good with too.

  80. I don’t expect or even need this album to outsell DCTR. All I want is respectable sales and the ability to make a 3rd album. I look at it like this, DCTR sold near 1.3 million and was released coming right off AI and during the biggest shopping season of the year. This next album is most likely going to be released in a different timeframe, maybe the summer? Daughtry, who is a bigger seller, is hugely established on Pop radio and even more of an HAC presence than David hasn’t even sold a million yet of his CD that came out last July. Personally I’ll take gold and a big hit song.

  81. If he can come up with DCTR under such chaotic conditions (U C whut I did thar) with the end result being I like to love 80% of the thing plus it sounds pretty freakin awesome live . . .

    ITA. Thus my general faith and happy for album two.

    Course that won’t stop me from making some sort of anti-Tedder-voodoo talisman and sleeping with it under my pillow, but I do that anyway. ;)

    That would be frightening to me. I can hear the little Tedder voodoo doll singing in the night: “I can see your HALOHALOHALO . . . it’s like a Battlefield!WHOA!A Battlefield!WHOA!”

  82. Daughtry, who is a bigger seller, is hugely established on Pop radio and even more of an HAC presence than David hasn’t even sold a million yet of his CD that came out last July. Personally I’ll take gold and a big hit song.

    Sure, I’ll take gold and a big hit song as well, but even though Daughtry hasn’t sold a million yet, he most definitely will. And I feel like Leave This Town still has legs and may eventually hit 1.3mill. I have no huge expectations for DC, but I am hoping for another platinum record, some mainstream hits and some Grammy nominations. I understand managing expectations, and I do but managing hopes too? I don’t expect huge things, but I’m sure gonna hope for them. I don’t think my hopes are THAT huge either.

    “All that I am, is in the palm of your hand, so make believe that you give a damn” and “tell me where does love go when it dies” is some good shit.

    Yeah, those are some GREAT lyrics, wasted, IMO on a plodding repetitive song. JMO. Conversely, the snippet in the vlog sounded like it had a great 15 seconds of music, but some pretty generic lyrics. I don’t think that makes that snippet a sure hit, but it still sounds more musically interesting than Make Believe to me. If you’re a 100% lyrics person, I can see the preference for Make Believe, but radio program directors usually choose hits based on the music, and the masses tend to gravitate towards good hooks, combined with interesting/catchy/cheeky lyrics, I think. I don’t think the vlog snippet had the latter. I’m hoping the first single has both (good hooks and interesting lyrics).

  83. Gimme one or 2 strong selling singles, the continuance a strong consistent HAC presence, an album that sells gold plus, and another profitable tour and I’ll be happy with Cookie.

    That works for me. And Cookie, you loved Virginia last time… so love it at least once on your next tour, ok? :) I don’t need to go five times next time around but I can’t break my “if it is too far to drive, it’s too far” rule… Can I?

    I don’t know what to expect sales-wise, I just want more music, and I want him to get to make a 3rd album.

  84. One more thing, the fanbase should get over its infatuation with “Make Believe”. It was interesting to hear new music, but the song is simply not that good. It’s draggy and boring, and if it did make the followup record, it would clearly and merely be as filler.

    I kinda agree with that. It’s at best an OK song. I’m also not sure if those kind of songs sell anymore. I think David Cook needs to come up with something that sounds different and distinct. A lot of fans also like his pre-Idol stuff, but I think the time for those kinds of songs have come and passed. Would be interesting to have one or two of his old songs reworked in his new album, but not more than that.

    I personally would be delighted with 600K and a good single and over-the-moon ecstatic with 800K.

    Oh, I don’t know. Does it mean that you’d realistically expect his sales to drop off like most of the former idols and then get dropped by his label after perhaps his third album? Well, perhaps it might be realistic, but we have better hope for our boy Cookie, don’t we? Don’t we?

    Ultimately the term ‘pop’ refers to songs that are massively popular

    Not really. Pop music is a specific genre. A pop song may aim to be massively popular, but they seldom are.

  85. Poor Cookie with all these people giving him all this advice (lol)! I’m glad he has a good head on his shoulders (never mind the hair) & can take things in stride, seemingly. I want a huge hit for his sake, and I want him successful enough for another never-ending tour, for me. Actually I want more, more, more David Cook, as Paula would say

  86. For me, being a fan is not an exercise in hope. I get my hope from elsewhere. Being a fan is looking at what the market is telling me, looking at what the artist is telling me, listening, eventually, to what the artist is playing for me, and then deciding, hopefully, that all those things add up to some material in which I and others want to invest.

    And from my framework, three major-label albums and a co-publishing deal for a future songwriting career is a success story. Nothing wrong with wanting more, but I won’t spend my time worrying about getting beyond album #3. Too many external factors.

  87. Whatever, noctem. “All that I am, is in the palm of your hand, so make believe that you give a damn” and “tell me where does love go when it dies” is some good shit.

    Yup, I like the lyrics AND the tune. Very hooky IMO. But some don’t. And there’s plenty of stuff he’s written that I’m pretty much allergic too (IDIFY, Souvenir). Wo what’s to get over? I like what I like. It’s actually that little snippet from that vlog (very good tune but cheese-tastic lyrics) that’s giving me nightmares, so there you go.

  88. For me, being a fan is not an exercise in hope. I get my hope from elsewhere.

    Wait, is the implication here that if I “hope” for a certain level of success for DC, then it means that’s where I get my “hope” in life? Haha. Not trying to quote AL (I don’t hate him but I’m not even a fan) but it’s really not that deep for me. I hope for a lot of things- my teams to win championships, my favorite actors to be in good movies that do well, my TV shows to stay on the air… but at the end of the day, these are pretty unimportant things in my life. I guess I don’t attach this huge spiritual connotation with the word hope. LMAO, there’s no “big meaning” behind my hopes for a platinum record for DC.

    Being a fan is looking at what the market is telling me, looking at what the artist is telling me, listening, eventually, to what the artist is playing for me, and then deciding, hopefully, that all those things add up to some material in which I and others want to invest.

    I think you meant, “Being a fan for me, is…”. It’s not really up to you to define what “being a fan” means for everyone. That said, what you just described is actually how I operate, mostly. I do look at the market, the public, the artist, the material, to come to my own conclusions, as a basis for my “hopes” for the performance for album 2. It just so happens my conclusions lead me to an optimistically optimistic hope for another platinum album. I think that is in the realm of possibility, provided the material hits the public the right way (and from what I’ve heard of the process, that is a possibility).

    And from my framework, three major-label albums and a co-publishing deal for a future songwriting career is a success story. Nothing wrong with wanting more, but I won’t spend my time worrying about getting beyond album #3. Too many external factors.

    Just because I have high hopes (there I go throwing around that sacred word again) doesn’t mean I’m spending my time worrying about 3rd albums or various measures of success. I think DC is very successful now, but I have somewhat higher hopes for him for the future. I think he does too. But I’m not gonna die or stop supporting him if he doesn’t meet these high hopes. I have realistic expectations too. Not sure but maybe that makes me the wrong kind of fan or something.

  89. That would be frightening to me. I can hear the little Tedder voodoo doll singing in the night: “I can see your HALOHALOHALO . . . it’s like a Battlefield!WHOA!A Battlefield!WHOA!”

    LOL. You know what would be scarier? If it came to life like Chuckie, tied me up, made me sing karaoke with him, and the only songs to choose from were Battlefield and Halo. :O Luckily, my anti-Tedder talisman is more like a mojo bag, filled with souvenirs I scarfed from various concerts over the years and little scraps of lyrics that I like and aren’t, you know, annoyingly repetitive and uninteresting. Aww, poor Tedder. I prolly shouldn’t rag him so hard because his stuff isn’t all bad, but then I remember that he took over my radio like Agent Smith took over the Matrix, and well, yeah.

    Yeah, those are some GREAT lyrics, wasted, IMO on a plodding repetitive song.

    Fair enough. I don’t find it to be all that plodding, and I like the drum work and some of the guitar bits quite a bit. But mostly I dig the chorus. I enjoy different songs for different reasons, and some songs that everyone seems to love get on my nerves for reasons I could never explain. I’ll be happy if some version of MB makes the album, ngl. ~shrugs~

    I want a huge hit for his sake, and I want him successful enough for another never-ending tour, for me.

    Well said, and here here. I’d like to add that I’m also now really hoping he gets to be as big as Carrie so he will be rewarded with his own muppet character that looks suspiciously like a dildo with a locktopus. Cuz seriously, how awesome would that be? :D (With apologies to BootStar and her astute observation on the Carrie Underworm thread.)

  90. Wait, is the implication here that if I “hope” for a certain level of success for DC, then it means that’s where I get my “hope” in life?

    sma11ie, I was mostly responding to this post and point:

    Well, perhaps it might be realistic, but we have better hope for our boy Cookie, don’t we? Don’t we?

    The assumption clearly was that I should have better hope for “my boy.” And as I said, for me (I didn’t think I needed to repeat that twice in the same parargraph), that’s not the way I approach fandom.

  91. For me, being a fan is not an exercise in hope. I get my hope from elsewhere. Being a fan is looking at what the market is telling me, looking at what the artist is telling me, listening, eventually, to what the artist is playing for me, and then deciding, hopefully, that all those things add up to some material in which I and others want to invest.

    For me, at least, being a Cook fan hasn’t been what he has done in his albums so far (because I found them a bit underwhelming – not bad, but could have been much better), but the potential of what he could be. If he were to do the normal decline of an Idol alum, then that would mean he hasn’t fulfilled his own potential, and that would be the waste of a great voice.

    I’m not sure if there is one AI performance that has the impact of his Billie Jean, a song that’s no longer available, probably rarely played on radio, but still there are people who chose to dance to this song, or do cover of his cover in other shows. That song revealed the emotive and raw power of his voice that can really resonate with the listening public, but one that he never really captured in his album (arguably Permanent has, but that song is distressing to listen to with any regularity). We don’t know if he can do it in his coming album (that little snippet we heard in his vlog isn’t really up to the challenge IMO), but I do hope he can. He can be a truly great singer, and I’d be really sad if he can’t do in the future what he has shown he can do on the show.

  92. sma11ie, I was mostly responding to this post and point

    I missed that post. I get your context now.

    If I’d expect him to do the normal decline of an Idol alum, then that would mean he hasn’t fulfilled his own potential, and that would the waste of a great voice.

    I think that’s where I’m coming from as well, Hazehel.

  93. He can be a truly great singer, and I’d be really sad if he can’t do in the future what he has shown he could do on the show.

    I guess the thing is that I’m not overwhelmingly in love with his voice. It’s very-good-to-great, but I’m a fan based on the fact that, at least since AH on, he’s managed to write albums with a fair number of songs that I would like even if someone else were singing them. (Certainly not all, but quite a few, and a ratio that is mostly on par with other artists I like.) If I were still waiting on him to fulfill his potential, beyond the general scope for growth of any other artist trying to make it on a major label and still get a POV across, then I would have moved on awhile ago.

    So as long as he has an avenue to get the songs out there, I’m not going to consider his ability to get the voice out there or not a waste.

    But thanks for explaining that perspective.

  94. Well, I just hope to be able to see him again on his next tour! The concerts on this tour were seriously rockin!! Also, I really like Make Believe, the chorus is especially hooky.

  95. I, like sunchick, am a lyrics first person. I wouldn’t listen to the best song in the world if it had cheesy lyrics. So if the lyrics don’t move me in some way then I just won’t listen. That’s why I listen to OLP, FOB, and Say Anything. They have some great lyrics, but they all have some misses.

    80% of Cook’s songs have great lyrics. Off of DCTR I think IDIFY, CBTM, and Heroes have cheesy lyrics. Granted he didn’t write CBTM, and Heroes isn’t *that* bad. In my opinion some of the best lyrics on DCTR are Mr. Sensitive, A Daily Anthem, and Kiss on the Neck. As lyrics go, Axium and Analog Heart have some fantastic lyrics. I also like the lyrics to Make Believe and Souvenir. That’s all I have to say. LOL

  96. Interesting to see the different responses to Make Believe and the recent song snippet pop up. I see both with great potential but did cringe a bit at the lyrics of the last song. This is why I get a bit jumpy at news of all the collaborators. I trust Dave’s lyrical voice, but the big hitmakers, not so much. Loaded with cheese, cliches or just mindless repetition. Considering that the big radio hits are dominated by these kind of songs, I just can’t envision that as a dream for David. I want him to have great success in his terms, keeping his musical visions well intact. Sure, there are necessary tradeoffs, but the road is littered with folks who sell integral parts of themselves to make it big. I love and trust Dave but he is human and therefore not immune from the siren’s call. I do think his nature combined with the groundedness of his family and friends make it pretty unlikely that he’ll stray too far from himself. The man seems to have an excellent inner compass and appears to be handling the craziness of his new life very well so far.

    I can easily see this next album as topping his first major label album and sending his career soaring. That sense is based on both Dave’s potential, his smarts and the way he has solidly laid the foundation for future success. We all make judgments based on some combination of both external and internal evidence so we’re bound to have a range of responses. It’s all good.

  97. We all want Cookie to blow up! Of course that’s (mostly) everyone’s secret wish.

    I just like to hope for the best and expect the… probable. Heh. The idol decline in album sales is a very real phenomenon, even when the product is good. Plus, he’s in a genre that is not “hot” in terms of airplay right now. All that to me adds up to 500-700K in albums and some steady HAC play w/ a good sized pop hit in a reasonably optimistic/realistic scenario. I have no idea what RCA will require of him, but I hope that’s enough to get to album 3.

    If we don’t get the whole enchilada this go around, then I at least want him to get another album. Of course I’ll root for a Taylor Swift Level Event – lol, but I won’t be disappointed if he “just” manages to turn a profit and keep his name out there enough for one more go around. :)

  98. David’s style of writing lyrics combined with his amazing voice are the things that draw me to him the most. Neither of those qualities were showcased enough in his last album, so I agree with Hazehel…I don’t think he has peaked yet. Until he gets the right kind of TV exposure that lets him perform the songs that really make him shine, rather than the Magic Rainbows, or CBTM, then there will continue to be room for growth. I think that Billie Jean is a great example of David’s potential. I’m also pretty sure that if David had performed Lie or Permanent on SNL or with the frequency that he performed Light On publicly, he would have made a bigger impact. I think the key is finding that song (like Billie Jean) that markets him as both as a rocker and as a great vocalist. The fact that Cook is even thinking of doing a vocals-only song, means that he is really acknowledging his vocal gift, which is terrific, IMO.

    I’m definitely a melody and rhythm person first and foremost. The lyrics are secondary unless they are standouts. So in that respect, Cook is an exception to the rule. However, not even David Cook could make me appreciate a terrible melody….I’m better off just reading poetry. On the other hand, if a song has a really good melody and/or rhythm, I can easily enjoy it, even if it has very few lyrics (eg. Return to Innocence by Enigma) or if it has silly lyrics (e.g. BEP). I draw the line with cheesy lyrics, however, especially if someone like David Cook is being made to sing them. I think I can only tolerate cheesy “inspirational” lyrics if they are being peformed by children, Whitney Houston, Country artists or in a religious or “we are the world”-type context…I think that covers it.

    ETA: Since everyone is weighing in…I also wasn’t overaly excited about Make Believe or that song snippet. However that particular snippet is kind of what I would have expected with that particular collaborator, so I wasn’t too concerned.

  99. 80% of Cook’s songs have great lyrics. Off of DCTR I think IDIFY, CBTM, and Heroes have cheesy lyrics. Granted he didn’t write CBTM, and Heroes isn’t *that* bad. In my opinion some of the best lyrics on DCTR are Mr. Sensitive, A Daily Anthem, and Kiss on the Neck. As lyrics go, Axium and Analog Heart have some fantastic lyrics. I also like the lyrics to Make Believe and Souvenir. That’s all I have to say. LOL

    This post is going to get pushed off the front page sidebar soon, so I’ll just say my last words on this– I’m not a lyrics first person, but I can agree with the everything you said above. That said, I like the lyrics in Make Believe and Souvenir without liking those songs at all. That’s just me though.

    As for the pop vs rock argument, I guess I’m not that concerned with genre labels. If the songs are awesome, and do well, and the public thinks their awesome, and helps DC do well, I don’t care if people call it pop. I can’t imagine DC songs ever sounding straight pop anyways. And if the songs are awesome and massive, I won’t care if Ryan Tedder or whoever else I may hate wrote or produced them. I complain all the time about radio making unfair judgments of Idols without even listening to the music because of the Idol stigma. I it’d be hypocritical if I were predisposed to hate any Ryan Tedder-like collabs without listening to the music just cuz I have preconceived ideas about the guy. Now, when can we hear more music ;).

    ETA: May, I’m the same as you. Not even DC could make me listen to a terrible melody with good lyrics. Conversely, I also draw the line at cheesy lyrics. I think No Air is a kickass pop/R&B song, but the lyrics are beyond awful. That’s why it stands at mild-like to indifference rather than love.

  100. I, like sunchick, am a lyrics first person. I wouldn’t listen to the best song in the world if it had cheesy lyrics. So if the lyrics don’t move me in some way then I just won’t listen

    I have a question ( if anyone is still here ! ) for seriously and anyone else who feels this way; does this mean you will not listen music which is sung in a different language such as Cirque Du Soleil music ? I’m just curious.
    By the way, love Souvenir, okay with Make Believe ( although I also love the line ” so tell me where does love go when it dies ? )

  101. I have a question ( if anyone is still here ! ) for seriously and anyone else who feels this way; does this mean you will not listen music which is sung in a different language such as Cirque Du Soleil music ? I’m just curious.
    By the way, love Souvenir, okay with Make Believe ( although I also love the line ” so tell me where does love go when it dies ? )

    I’m still here! And yes I don’t listen to other languages. It drives me insane.

  102. I’ll answer, too, in case you’re still reading. I don’t really do foreign language music. Well, there was my brief guilty pleasure infatuation with Ricky Martin, and the fact that he sounds sexier when he sings in Spanish. Don’t judge. Oh, and I’ve been to the opera and loved it regardless of the language thing. Anyway, I did a quick inventory of this favorite songs evah playlist I have on my iPod, and there’s a whole lotta lyrics that I could quote in my sleep on that playlist. That’s what I meant by lyrics first. But lyrics aren’t the only thing that can grab me about a song. I love the sound of crunchy guitars. I am mad for drum solos. Sometimes you just feel a groove. If the lyrics really, really get on my nerves for whatever reason, though, it’s the quickest way to kill a song and send it to the graveyard of annoying songs I don’t want to hear ever again.

  103. While I love lyrics, I’m a music first person. I’ve loved many songs in foreign languages when I have no idea what they’re saying, and even in English I often can’t decipher the lyrics but just enjoy the music. When I read books, cliches bother me, but with music it really is about the music and the words are less important. It’s all about a feeling and a mood. Music speaks to me in a different way than words do, appeals to the emotions and less to the rational mind. Many successful songs have cheesy lyrics and yet they appeal to the heart and they impart a feeling, and that feeling is what music is about, to me. Whereas poetry and books have a different mode of expression and appeal to me in a different way, and then the words really matter a lot, since the words are everything.

  104. I’m going to amend my last post, after thinking about it. It really depends on the song. Some songs are more about the music, others are more about the lyrics, but no matter what, the music or the sound has to be good. I can listen to weak lyrics with great music, but I can’t listen to bad music no matter how good the lyrics.

  105. I agree 100% the music has to be good it is essential. Some lyrics make no sense but if the music is good it does not matter. Now I love great lyrics but it is a song after all so the music is # 1 then lyrics.

  106. Thanks for venturing back into a three day old thread to answer my question, everyone ! I love David Cook threads; I just can’t seem to let them end !

  107. No problem. It was easy to respond, though, even though it’s not on the front page anymore…at the top of MJ’s blog front page there’s a list of most popular threads, and this one is still on the list. Clicky the linky, and voila, no paging back through days and days of threads. I love Cook threads, too, because the tangents are epic. Anyway, I guess the moral of the story of this thread is…

    Interesting Cook lyrics = awesome
    Interesting Cook music= awesome
    Interesting lyrics + interesting music= effing awesome ;)

    Bring on DCTR 2.0.

  108. I remember some pretty funny lyrics in my life. Let’s see:

    Who put the bop in the bop she bop she bop
    Who put the ram in the rama rama ding dong?
    Who put the dit in the dit dit dit dit dit
    Who was that man? I’d like to shake his hand

    LOL

    or how about

    there she was just a walkin’ down the street
    singing do wah diddy diddy do diddy dum
    snapping her fingers and tapping her feet
    singing do wah diddy diddy do diddy dum

    ————————
    Oh I’ll tell you something
    I think you’ll understand
    when I feel that something
    I wanna hold your hand
    I wanna hold your hand
    I wanna hold your hand
    I wanna hold your hand

    ———————-
    Well shake it up baby now
    twist and shout
    come on come on come on come on come on baby now
    come on and shake it on out
    you know you twist-a little girl
    you know you twist so fine
    come on and twist a little closer now
    and let me know that you’re mine

    — poetry it ain’t — :)

    But I love lyrics too, and David Cook’s are awesome for the most part.

  109. They say it fades if you let it,
    love was made to forget it.
    I carved your name across my eyelids,
    you pray for rain I pray for blindness.

    If you still want me, please forgive me,
    the crown of love is fallen from me.
    If you still want me, please forgive me,
    because the spark is not within me.

    I snuffed it out before my mom walked in the bedroom.
    ___

    It’s a twisted game
    A brief & oft-repeating
    Prose that never seems to resonate
    Spin the finger of blame
    It’s always on the heart that kept on beating
    While the other pulled up lame

    We’re only honest when we’re sleeping
    We’re lying wide awake and dreaming
    Wishing that we were someone else
    This bed’s as cold as hell
    When you’re lying next to me.

    The ceiling paints a picture
    And everything’s a welcome work of art
    Amidst the chaos in the mirror, the lies in lipstick red
    _______

    I wish the telephone had not been invented
    Because I keep picking it up to say
    Stupid things to you

    The rain has stopped for now
    But I know it’s not ended

    No sense in trying
    I cannot be protected
    No sense in worrying
    I can’t be protected

    Wonderful and sad
    How can you be so?

    I wish that happiness could just be pretended
    The closest thing to that is
    A bottle of whiskey dear

    I’d write a letter home
    But I don’t know where to send it.

    Wonderful and sad
    How can you be so?
    ______

    I’m not sure what it says about me that I seem to love me some music with a large helping of relationship angst. :D

  110. Interesting Cook lyrics = awesome
    Interesting Cook music= awesome
    Interesting lyrics + interesting music= effing awesome ;)

    Bring on DCTR 2.0.

    Now that sounds good to me :)

  111. I’m not sure what it says about me that I seem to love me some music with a large helping of relationship angst.

    Those are some of my favorites too. So I guess it says we have great taste. :)

  112. You all are awesome ! Some of my favorite non-David lyrics:

    Quick to judge, quick to anger, slow to understand
    Ignorance and prejudice and fear walk hand in hand.

    _________

    Was it summer when the river ran dry or was it just another dam ?
    When the evil of a snowflake in June could still be a source of relief.
    ” Oh, how I love you . ” I once cried long ago
    But I was the one who decided to go
    To search beyond the final crest
    Though I’d heard it said just birds could fly so high.

    _________

    As for your cheesy lyrics, what about:

    I get a thousand hugs from 10,000 lightning bugs
    As they try to teach me how to dance.

    WTH ?

  113. I’ll join the lyric sharing party! Some of my fav non David lyrics. 

    I hope that love he gave you,
    Was just enough to save you.
    You nearly broke my heart,
    Just look at what you’re tearing apart

    Stab my back,
    It’s better when I bleed for you.
    Walk on me,
    That never was enough for you. 
    ——————
    If I don’t make it known that
    I’ve loved you all along
    just like the sunny days that
    we ignore because 
    we’re all dumb & jaded
    and I hope to God I figure out
    what’s wrong
    ——————-
    I’m holding out and I’m holding on 
    to every letter and every song.
    I pulled myself out of the day we ever had to meet.
    Are you through with me?

     And when it all goes to hell, (Take this to your grave)
    will you be able to tell 
    me sorry with a straight face. (I’ll take it to mine)

  114. Not the boy I was
    The boy I am is just venting, venting
    Dear gravity, you held me down in this starlit city…

    Sniff, RIP FOB. :'( The Pete/Dave (Pave?) picture will never not be epic. I had to sit on my hands to keep from clapping when I clicked on it.

    OK, everyone, best lyrics of ALL TIME

    http://www.youtube.com/watch?v=5JuVHCJVYf4

    No way. Clearly THIS is by far teh best.

  115. Sniff, RIP FOB. :’( The Pete/Dave (Pave?) picture will never not be epic. I had to sit on my hands to keep from clapping when I clicked on it.

    ROFL. Sitting on your hands? Haha. I’m gonna call them Pave now. Dete would be weird.

  116. I guess I officially ended this topic discussion ! So long, precious David Cook thread…..
    By the way, Happy Anniversary Declaration Tour !

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