“Fade Into You,” written by Trevor Rosen, Shane McAnally, and Matt Jenkins: Clare and I recorded this in L.A. We were about to return for the start of the season once the show had been picked up, and I found myself in L.A. and having just been booked on my first movie, Runner, Runner, with Ben Affleck and Justin Timberlake. I was absolutely hyped up and was imminently going to be leaving for Puerto Rico to start shooting this movie for a few weeks. And, of course, we’re trying to sort out contracts and things, and “Fade Into You” is delivered to us, and again, it’s an incredible song, with so much metaphor and imagery in it. “If you were the ocean, and I was the sun…” It was a nice step from the more personal, direct approach of the other two songs. We’re like, “Wow, this another beautiful, beautiful song.” I think I was planning to fly to Puerto Rico on Thursday, and this song came in on Tuesday. The emails were sent across [Laughs] “Right, we need to get you into the studio and recording this song — maybe we do it next week.” I’m like, “Ohmygod, I’ve got to be in Puerto Rico, let’s try to get this done as soon as we can.” So there was a bit of stress trying to balance these two projects.
Clare and I spent the day before [recording] really working it through. We went to [music supervisor] T-Bone Burnett’s personal studio to record it, where Led Zeppelin has recorded, and where Joaquin Phoenix and Reese Witherspoon had recorded the soundtrack for Walk the Line. T-Bone floating around offering coffees — it’s just the most amazing relaxed vibe. That’s why I think the music [on the show] has such an authenticity to it, because we’re not being forced by networks and time constraints to churn out music without a thought process to it. It was scary though: We needed to record it Wednesday, since I had to fly out Thursday morning. “If we can’t get a shot at it on Wednesday, you’re gonna be late for the movie.” Because we’d done our homework, and Clare’s got this voice that mine just seems to go nicely with, we got it done in a couple of hours in the backroom of T-Bone’s studio. They sent it to R.J. and Callie that evening, and I think by 10 p.m. or 11 p.m. that night, we got the “Okay, Sam, you can go and do the movie. It’s all good.” I think it came out pretty nicely.
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