In addition to the seven tracks Matchbox 20 cut for "Exile on Mainstream" with Steve Lillywhite, Thomas issued two solo albums -- 2005's "…Something to Be," which has sold 1.6 million copies, according to SoundScan, and 2009's "Cradlesong," which failed to produce a hit as big as "…Something to Be's" "Lonely No More" and has sold 477,000. Thomas calls the latter experience "kind of gravy" coming after a decade-long streak of hits both solo and with Matchbox 20.
"You have this weird permission to fail if you come from a band that you can always run back to," Thomas says. "For that album, it was just a creative exercise more than anything. Some of them were songs we did because I didn't think the band would want to play them, some were songs I did because that's what I wrote at the time. It was nice not to have an agenda coming into it."
That focus on putting the songs first carried over to "North," which reunited the band in Nashville for a series of sessions that produced dozens of songs before a producer like Serletic was even discussed. They also produced a fair deal of hangovers. "There were some songs that Paul and I wrote together but would appeal to one of us more. And after seven bottles of wine it would be like, 'Well the band's over again!'" Thomas says with a laugh.
"It sort of became evident that bringing someone new to the table was maybe not the best idea," Doucette adds. "We have such a great shorthand with Matt, it was sort of like, 'What are we waiting for?'"
With SoundScan sales of nearly 18 million albums between Matchbox 20 and Thomas in the United States alone, the band was able to call the shots on everything from producers to choosing the singles from "North," a distinction that Atlantic Music Group chairman/CEO Craig Kallman told the band it had "earned the right" to do. "We can never be that band that goes, 'The label made us do that song,'" Thomas says.
The band's publishing catalog on EMI also clearly has enough value that Martin Bandier, chairman/CEO of the revamped Sony/ATV Music Publishing, was among the heavy-hitters at a July listening event for "North" at New York's Mondrian Hotel. Other attendees included Clear Channel national programming chief Tom Poleman and VH1 executive VP of talent and music programming Rick Krim, a sign that Matchbox 20 still has major traditional media allure.
"We feel like they're a core artist for us -- from since they started through all the Matchbox records and Rob solo, we've done so much with them. They're definitely friends of the channel," says Krim, who put "She's So Mean" into heavy rotation in July and has already featured the group in core franchise programs like "Storytellers" and "Behind the Music."
"The single sounds very Matchbox but also sounds very 2012," Krim adds. "It doesn't sound like it's a song that should've been on one of their older albums. They made it sound modernized without getting away from what they're about."
Up next, a song called "Overjoyed" has already been identified as the likely second single.
"It's an unbelievable song, and getting a song with a title like that on top of the [year-end] holiday should do well for us," Greenwald says. And an extensive promotional tour throughout the fall should keep the band visible, having already been preceded by Thomas' guest-hosting stint on "Live With Kelly" in late July. An October tour of Australia with INXS will also help tee up demand for the band's first U.S. tour since 2008 (in support of "Exile on Mainstream"), set to kick off in early 2013. It's on the road where the band really proves its mettle-the group's 2008 tour sold out 14 of 45 arena dates, with more than $23 million in grosses, according to Billboard Boxscore.
"In order to sustain, you have to learn how to be a live band," Doucette says. "The amount of people who come out and have a hit song end up totally blowing it because they have no experience dong this stuff… You do live in a world where you're only as good as the last thing you put out -- everyone understands that. But I definitely feel this record's really going to connect. Every song is one that I really, really like. Maybe we've had weaker ones in the past…"
"--And you can tell which ones those are," Thomas says, finishing Doucette's sentence, "because we don't play them live."