It seemed like THE ALL-AMERICAN REJECTS came outta nowhere, and then turned around and went right back into hiding. Turns out it took them a little longer to find the rock ’n’ roll.

INTERVIEW: Leslie Simon

After the whirlwind surrounding your debut, what was the objective when you first started writing?

TYSON RITTER: At first, we took two months off before I even touched a guitar and Nick even touched his computer. We were just getting our heads back together. It was like riding a rocket for a year and a half, and then falling right back down to Earth. So after that, I walked out to the beach, sat my feet in the sand and tried the Brian Wilson approach. I listened to the waves. I listened for a melody. I was just kind of pulling from everything from the last two years: where I’m at now, what’s important to me-not really straying from what we are as a band.

The first album was really created in a vacuum. How different was it making Move Along?

Lyrically, I think it needs to be separate from the music. Honestly, with the first record, we had six months to finish 60 percent of it. Doghouse [AAR’s first label] gave us a deadline, [saying], “All right, you have four songs and we signed you. Let’s have a record in six months.” I think we react greatly to pressure and negative reinforcement-which is a great thing for a band these days, because that’s all you get. Honestly, because of that, I’m so glad that we had to write more whenever we thought we were ready. Because when we get that pressure behind us and people light a fire under our ass, that’s when I, personally, get passionate about what I do and focus and wait until my hands start moving without me thinking about it.

This album comes from more of a place of love as opposed to heartbreak, right?


Is there a difference in the approach you take to writing?

No, because every time I write a song, I just write a hook. I don’t think about the lyrics until I already have the song where I want it. I don’t even think about where I’m coming from with the song. My goal, every time I write a song, is to write the catchiest fucking thing I’ve ever heard. That’s what I try to do. It might not be the exact end product, but you’ve still got a song at the end.

For the rest of the story, pick up AP 205 below…