{"id":380440,"uri":"https://api.kexp.org/v2/plays/380440/?format=json","airdate":"2019-09-13T15:11:40-07:00","show":6331,"show_uri":"https://api.kexp.org/v2/shows/6331/?format=json","image_uri":"http://coverartarchive.org/release/0d33ef7a-1f5d-4365-b807-b412271b99c3/3778673680-250.jpg","thumbnail_uri":"","song":"Man Next Door","track_id":"582ca562-6a60-3e04-b786-d2f5c3e3d943","recording_id":null,"artist":"Massive Attack","artist_ids":["10adbe5e-a2c0-4bf3-8249-2b4cbf6e6ca8"],"album":"Mezzanine","release_id":"0d33ef7a-1f5d-4365-b807-b412271b99c3","release_group_id":null,"labels":["Virgin Records America"],"label_ids":["1644d8bc-b558-447f-82eb-5d6829988156"],"release_date":"1998-05-12","rotation_status":"Library","is_local":false,"is_request":false,"is_live":false,"comment":"The production of Mezzanine was a stressful process. With tensions arising within the group, it almost split the band.  They disagreed about the musical direction for the new material. Robert Del Naja first started making samples from new wave records, from the likes of Wire and Gang of Four: it was the music he'd listened to in his early teens. Del Naja wanted Massive Attack to make an album having an atmosphere of edginess and paranoia present in the music of the late 1970s. Grant Marshall, also a new wave fan himself, supported this idea, as he wanted to get away from the \"urban soul\" of their previous work, Protection, but Andrew Vowles was sceptical.  The sessions continued with Vowles and Marshall working on bass and drum loops, while Del Naja carried on experimenting from new wave records. However, during the recording, the group decided to release a new track, \"Superpredators\" sampling extensively a Siouxsie and the Banshees' song called \"Metal Postcard\", for the movie soundtrack of The Jackal;  the track would be included on the Japanese version of Mezzanine.  https://bit.ly/2TqATLr","location":1,"location_name":"Default","play_type":"trackplay"}