Daniel Lanois Biography

"The best records come out of a stretch of experience," says Daniel Lanois. "Personal life experience, romantic experience, family, friends, global events - it all sort of stacks up and at a certain point one has a duty as a reflector, an interpreter, to just say what needs to be said."

Lanois has certainly had experiences that few can match. As a producer of such masterworks as Bob Dylan's "Time Out of Mind," Peter Gabriel's "So," and U2's "The Joshua Tree" and "All That You Can't Leave Behind," he is unarguably one of the most significant musical minds of our time. And after so many groundbreaking collaborations, Lanois has decided that once again the time has come to "say what needs to be said" with "Shine" - his third solo album, and his first since the acclaimed "For the Beauty of Wynona" ten years ago.

Recorded in locations from Mexico to Dublin, "Shine" reveals a remarkable range of sounds, emotions, and approaches to music-making. From the epic sweep of the opening track, "I Love You," featuring the unmistakable harmonies of Emmylou Harris, to the lovely music-box melody of the closing instrumental "JJ Leaves LA" ("the loneliest thing I ever did," says Lanois), the album represents a lifetime spent absorbing blues, rock, country, and folk song. "I wanted the record to be one of those that you put on and you never take off," says Lanois. "I wanted it to have songs that could be embraced by all - popular songs - and also mystery songs, snapshot songs, smaller songs, and I wanted to include tripped-out psychedelic instrumentals that take people on a journey.

"It's a lovely thing when you can elevate somebody's spirit," he continues, "and that's what a record should be about - to give people an outlet for their imagination."

Through his work with artists from Willie Nelson to the Neville Brothers, from Brian Eno to Emmylou Harris, Lanois is best known for an instantly recognizable panoramic, atmospheric sound. "Shine," however, explores a surprising variety of textures - the cascading chug of "As Tears Roll By" or the simple, uncluttered arrangements of songs like "Sometimes" and "Power of One." The gentle sway of "Falling at Your Feet," with additional vocals by Bono(the two co-wrote the song during sessions for "All That You Can't Leave Behind"), evokes a latter-day Simon and Garfunkel, while the soulful "Slow Giving" recalls David Bowie (whose '70s collaborations with Eno, Lanois says, served as a touchstone for "Shine"). What pulls all of these strands together is a strong sense of melody and songcraft. "I've always enjoyed melody," says Lanois, "writing a song in the kitchen - that's where they're usually born - and if there's no need to stray from that, then that's great."

The core musicians for "Shine" are master drummer Brian Blade (who's played with the likes of Joshua Redman and Joni Mitchell - "a giant," says Lanois) and Lanois himself, who plays the bulk of the other instruments. It makes for a loose and intimate feel that unifies the album's different moods and styles. The stripped-down sonics sometimes recall Lanois's first solo project, 1989's stunning "Acadie" album. But there's one instrument in particular that he says really stands at the heart of this project - the pedal steel highlighted on "Transmitter" and "JJ Leaves LA."

"Steel guitar is my first instrument," says Lanois, "and it's an anchoring point. It requires full dedication - you have to put in the time, and that means you can't do a lot of other things. It's almost an arrogance, that focus. I think hanging on to that ability to devote that discipline to something should never wear off."

Such conviction is indicative of the social conscience that is subtly woven through "Shine." Lanois, 51, was raised in the Canadian town of Hull, Quebec, and brings a deeply felt perspective to our complicated times. "I've always had a fascination with exclusion and segregation," he says, "having felt some of that myself being French Canadian growing up in the Anglo neighborhoods. We tend to get very lifestyle protective, and forget that we're all newcomers - and then the welcome mat tends to disappear pretty quickly."

The vocal sessions for "Shine" done in Mexico - initially outside of Oaxaca, then around Baja - also had a powerful impact on Lanois. "It's a very inspiring place," he says. "There's a kind of purity in the air, and a connection with everyday life - the culture is really about enjoying the moment. They live closer to death, celebrating death. The Mexico chapter really helped form my philosophies."

This sense of inclusion and cross-cultural communication influenced not only the varied sounds of "Shine," but also its lyrics. "If you study these songs with a microscope they're somewhat political," says Lanois, "even if it's just about one's own personal politics. The irony of these times for me is that with all the information access we have, we stay considerably in the dark regarding world events. So the last verse of 'As Tears Roll By' has a reference to the Tower of Babel in it - you could apply that thought to the rise and fall of empires. These are fascinating, very questioning times."

Following the album's release, Lanois is looking forward to touring following the album's release ("from record stores on up," he says, "I like doing those little shows"), possibly with just himself and a drummer onstage. But even before putting "Shine" out into the world, before going out to play for an audience eager to meet the invisible man behind some of their favorite recordings, Lanois says he has already learned something invaluable from making this album.

"I'm ready to admit that I'm a North American," he says, "and that my feet are permanently cemented here in the traditional music of America. I'm happy to be out there celebrating my roots and hiding the sutures of technology."