digital booklet - the singles

An Introduction

After seventeen years together, No Doubt stands as a continual phoenix. Few groups havemanaged to stay so vital for so long. Their story is one of family, hard work, perseveranceand celebration. From an unassuming ska outfit in Anaheim, California, to a fixture inthe worldwide collective pop psyche, there is no denying how far they have traveled.With the release of this collection, drummer Adrian Young, guitarist Tom Dumont, bassistTony Kanal and singer Gwen Stefani finally pause to look back.

Being some of the most down-to-earth artists youd ever want to meet, it is surprisinghow No Doubt's saga does border on the fabled. The kudos have been countless: GrammyAwards; MTV Video Music Awards; VH1 Vogue Fashion Awards; California Music Awards;chances to work with Elvis Costello, Prince and OutKast; shows with U2 and The RollingStones; and finally the key to the city of Anaheim - presented to No Doubt in a lavishceremony by then Mayor Tom Daly. However, as in all our lives, such sweet moments cometempered by conversely dark downs.

Things began innocently enough with band co-founder Eric Stefani plucking away Madnesstunes on the family piano slowly pulling his sister Gwen and other friends into thefold. The 1986-formed group was then struck by tragedy just over a year into its career,when original front man John Spence took his own life. Soldiering on, the inexperiencedGwen eventually transitioned to lone front-woman. They had found acceptance and a following in the underground Southern California ska scene, but later distanced themselves as they felt it had become confining.

After finally landing a recording contract in 1991, they released a mostly overlookedeponymous debut album a year later. In the midst of recording a make or break sophomorealbum between 1993 and 1995, main songwriter Eric left the group to focus on a burgeoning animation career. The void of his departure was compounded by the end ofTony and Gwens seven year romantic relationship. At this point, most bands would havepacked it in no one would have blamed them.

Again they rose up. Holding on to hope and their Madness/Fishbone-inspired roots theyhad to redefine themselves. Over three years and passing through eleven different studiosthey found their own original voice in an album which would become their breakthrough- Tragic Kingdom.

The albums heartbreak lyrical focus ("Don't Speak" would go on to become one of the mostpoignant and popular breakup ballads of all time) and their sprightly pop/punk/reggae/'80s-retro musical mix finally found the group a mass audience. Immersed in the synthesizersonics of their new wave youth, the musicians were slowly, but surely pushing theirstyle forward as single after single topped the charts.

After years of honing their live stage energy, the band returned to the road with theirnew arsenal of songs. The sweat poured as the bars turned to clubs, the clubs turnedto theaters and the theaters to arenas. To this day, their undeniable live connectioncontinues to deliver the boundless stage magic that has thrilled audiences around theworld.

But fame had its price. Lauded as a platinum blonde beauty, the spotlight stayed onGwen in the wake of Tragic Kingdom -- thanks in part to a Latina-culture/'40s-film-star-influenced fashion sense, she was drawn beyond the focal point of a lead singer to culturalicon status. Editors and photographers zeroed in on Gwen and the resulting magazinearticles and photo spreads repeatedly shook the foundation of the group.

Tony, Tom and Adrian found themselves swept aside by the torrent of success. Gwen wasoverwhelmed by the sudden attention and inequalities. Sessions for Tragic's follow up,Return Of Saturn, were muddled with uncertainty. After two nonstop years of songwriting,the attitude turned grim as No Doubt struggled to assert itself and carve out a new,post-Kingdom direction. Focus eventually returned and the music flowed. The first NoDoubt wedding joined Adrian and his girlfriend Nina. Gwens relationship with boyfriendGavin Rossdale blossomed (they were soon engaged and married in 2002).

When the lovingly crafted Saturn didnt match the same staggering numbers upon its 2000release as Tragic Kingdom, tensions ironically eased. The band was humbled, broughtcloser together as members and friends, and ultimately drawn into a more casual songs-and-friendship-first focus. The band relaxed. Gwen contributed to a pair of soon to be hitsby Moby and Eve and a plan for the next phase came together.

Their most adventurous and free-spirited work to date followed in 2001's Rock Steady.The album incorporated numerous co-producers (Prince, Nellee Hooper, Ric Ocasek, WilliamOrbit, Mark Spike Stent, Sly & Robbie and Steely & Clevie) and several recordinglocales (London, Jamaica, San Francisco and Los Angeles). From the dancehall grooveand note-perfect reggae to shameless new wave effervescence, No Doubt successfullystepped between genres at a level which has seen many a superstar fall flat on theirface.

Therein lies the key to No Doubt's continued musical achievement over a nearly two-decade existence. Through it all, they have followed their own particular muse andallowed each members pet influences to surface in song after song. Along the way theyguaranteed not only their own creative happiness, but the happiness of their fans aswell. Every time you pick up the latest No Doubt album you hear those quantum leap,multi-producer progressions and feel like youre experiencing a brand new band.

The support from all the fans never went unnoticed by Gwen, Tony, Tom and Adrian fromthe early fans who dragged their friends out on a Monday night to see them at FendersBallroom in Long Beach, California, to young teens making No Doubt their first concertexperience at their local arena on 2002s Rock Steady tour, to all the fans in betweenand to come - this collection is most of all for them.

No Doubt could have easily wound up another Greek tragedy. Instead, their Herculeandetermination has scripted a passion play, where the underdog group eventually winsagainst all odds. A play that is -- believe it or not -- barely through Act One. Thiscollection offers highlights of the past eleven years. So take a look back, but asalways, the best scenes are yet to come...

Paris Montoya and Tom LanhamOctober 2003

(G. Stefani, T. Dumont)

Take this pink ribbon off my eyesI'm exposed and it's no big surprise Don't you think I know exactly where I stand This world is forcing me to hold your hand

Cause Im just a girl, little ol meDont let me out of your sightIm just a girl, all pretty and petiteSo dont let me have any rightsOhIve had it up to here

The moment that I step outside So many reasons for me to run and hideI can't do the little things I hold so dear'Cause it's all those little things that I fear

Cause Im just a girl, Id rather not beCause they wont let me drive late at nightIm just a girl, guess Im some kind of freakCause they all sit and stare with their eyesIm just a girl, take a good look at meJust your typical prototypeOhIve had it up to hereOham I making myself clear?

I'm just a girlI'm just a girl in the world That's all that you'll let me be

Im just a girl living in captivityYour rule of thumb makes me worry someIm just a girl, whats my destiny?What Ive succumbed to is making me numbIm just a girl, my apologiesWhat Ive become is so burdensomeIm just a girl, lucky meTwiddle-dum, theres no comparison

OhIve had it up toOhIve had it up toOhIve had it up to here

Produced by Matthew WilderRecorded by Phil Kaffel and George LandressAdditional keyboards: Matthew WilderMixed by Holman and Paul Palmer

Knock Yourself Out Music / Universal-MCA Music Publishing (ASCAP)

Photo: Joseph Cultice

3:26

from the album tragic Kingdom (1995)

The undeniable song with the clever hook -it put No Doubt on the map.

Distinctive, totally original yet instantly familiar --There is no formula to write a song like this. Itjust happens. Tom's now famous opening riff was nicked,he'll admit, from an earlier Eric Stefani effort. MatthewWilder, Tragic Kingdom's producer, was instrumental inteaching the band simplicity in getting a songs idea across.

Gwen recalls coming up with the title first. A phrase withboth good and bad connotations: She'd often begged off backbreaking band work because she was, after all, just a girl;But she also hated to be excluded from any activity for thatsame reason. For many girls, such expressions of the post-feministparadox remained locked in a diary.

Adding bow-wowing synth noise (a Roland Jupiter 8), Tony rememberswelcoming such blatantly '80s keyboards, effects and retrosounds to the song, which the public hadn't heard since theheyday of new wave.

Upon its release in 1995, JAG cut through the stagnantmodern rock airwaves and brought a fresh pop sound tothe radio. It also delivered an expression of femininestrength rarely realized in rock music. An anthemto young women the world over - past, presentand future.

3:46

Photo: F. Scott Schafer

(M. Hollis, T. Friese-Greene)Funny how I find myself in love with youIf I could buy my reasoning I'd pay to lose One half won't doI've asked myself How much do you commit yourselfIt's my lifeDon't you forgetIt's my lifeIt never ends

Funny how I blind myself I never knew If I was sometimes played uponAfraid to lose I'd tell myself what good you doConvince myselfIt's my lifeDon't you forgetIt's my lifeIt never ends

Produced by Nellee Hooper and No DoubtRecorded by Karl DerflerProgramming: Stuart PriceAssistant engineer: Kevin MillsKeyboards: Gabrial McNairMixed by Mark Spike StentUniversal Songs Of PolyGram International, Inc. (BMI) and Zomba Enterprises, Inc. (ASCAP)All rights reserved. Used by permission.

No Doubt has, over the years, performed countlesscover songs live, beginning with the Madness, Specialsand Selecter favorites of their early days. But theyhad never actually recorded one for an album of their own.So, deciding to finally do a remake was the easy part.Settling on a single song from all their divergent influencesfor this hits package took forever.

Eventually, after sifting through hundreds of possibilities,they narrowed it down to two contenders -- INXS's "Don't Change"and "It's My Life" by ethereal outfit Talk Talk (Depeche Mode's"A Question Of Lust" was another close contender). Afterrehearsals with producer Nellee Hooper, momentum swung towards"Its My Life" and the recording was completed in September2003.

This cover fits the strict No Doubt criteria for their choice-- a cut that 80's fans would recognize and love; one thata new generation of fans could immediately enjoy; and mostimportantly, a song written in a style close to theirhearts. This track delivers the goods.

(G. Stefani, T. Kanal, T. Dumont, R. Price)Im the kind of girl that hangs with the guysLike a fly on the wall with my secret eyesTaking it in, try to be feminineWith my makeup bag, watching all the sin

Misfit, I sit, lit up, wickedEverybody else surrounded by the girlsWith the tank tops and the flirty words

Im just sipping on chamomileWatching boys and girls and their sex appealWith a stranger in my face who says he knows my momAnd went to my high school

All the boys sayHey baby, hey baby, heyGirls say, girls sayHey baby, hey baby, heyHey baby, hey baby, heyBoys say, boys sayHey baby, hey baby, heyAll the boys get the girls in the back

Im the one they feed uponGive a bit, a star is bornIf youre hot enough youll get the passSo you can tell your friendsHow you made it back

No matter what they sayIm still the sameSomehow everybody knows my nameAnd all the girls wanna get with the boysAnd the boys really like it

All the boys sayHey baby, hey baby, heyGirls say, girls sayHey baby, hey baby, heyHey baby, hey baby, heyBoys say, boys sayHey baby, hey baby, heyAll the boys get the girls in the back

Photo: Frank Ockenfels 3

Produced by Sly & Robbie and No DoubtAdditional production by Mark Spike StentRecorded by Dan ChaseProgramming: Tom Dumont, Tony Kanal, Sly DunbarAdditional production and programming: Philip SteirAdditional engineering: Count, Tkae Mendez, Rory BakerAssistant engineer: Toby WhalenAdditional recording: Tom Dumont, Tony KanalExecutive producers: Brian and Wayne JobsonMixed by Mark Spike StentMix programming: Wayne Wilkins, Paul P Dub WaltonAdditional mix programming: Johnny GouldAssistant mix engineers: Matt Fields, David Treahearn, Keith UddinWorld Of The Dolphin Music / Universal-MCA Music Publishing (ASCAP) and B-Unique Music (ASCAP)

3:27

from the album Rock Steady (2001)

Spawned of the constant presence of Jamaican dancehall atthe post show parties and tour bus lounges of the ReturnOf Saturn tour, "Hey Baby" captures a pure moment ofcelebration and experimentation in the life of the band.

Beginning with some instrumental jamming and programming inSan Francisco with producer Philip Steir, Gwens lyrics andmelodies werent caught on tape until a session at Tom's homestudio in Los Angeles weeks later.

Recording moved to Kingston, Jamaica, where co-producers Sly andRobbie were so pleased with Gwen's original vocal take they leftit intact as they added percussion and a toast from reigningdancehall king Bounty Killer.

"Hey Baby" was selected as the first single to represent RockSteady and the new No Doubt upbeat and confident. Unlikeanything on the radio, the public quickly warmed to thetrack and the ubiquitous phrase "Hey Baby" took on newmeaning and delivery.

(G. Stefani, T, Kanal, T. Dumont)

You and your museum of loversThe precious collection you've housed in your coversMy simpleness threatened by my own admission

And the bags are much too heavyIn my insecure conditionMy pregnant mind is fat full with envy again

But I still love to wash in your old bathwaterLove to think that you couldn't love anotherI can't help ityou're my kind of man

Wanted and adored by attractive womenBountiful selection at your discretionI know I'm diving into my own destruction

So why do we choose the boys that are naughty?I don't fit in so why do you want me?And I know I can't tame youbut I just keep trying

'Cause I love to wash in your old bathwaterLove to think that you couldn't love anotherIm on your list with all your other womenBut I still love to wash in your old bathwaterYou make me feel like I couldn't love anotherI can't help ityoure my kind of man

Why do the good girls always want the bad boys?

So I pacify problems with kisses and cuddlesDiligently doubtful through all kinds of troubleThen I find myself choking on all my contradictions

'Cause I still love to wash in your old bathwaterLove to think that you couldn't love anotherShare a toothbrushyoure my kind of manI still love to wash in your old bathwaterMake me feel like I couldn't love anotherI can't help ityou're my kind of man

No I can't help myselfI can't help myselfI still love to wash in your old bathwater

Produced by Glen BallardRecorded by Alain JohannesAdditional recording by Scott Campbell and Bryan CarriganHorn arrangement by Gabrial McNairPiano, trombone: Gabrial McNairTrumpet: Stephen BradleyMixed by Jack Joseph Puig

World Of The Dolphin Music / Universal-MCA Music Publishing (ASCAP)

Photo: David LaChapelle

4:00

from the album Return Of Saturn (2000)

Written in only ten minutes (Tom swears), "Bathwater"opens with a slow volley of New Orleans funeral brass overa human beat-box (Adrian) and quickly picks up speed.

Gwen had something very specific in mind for the lyrics. Shewanted to churn out a fun but bitingly self-sardonic track thatgrappled with insecurities eventually overrun by bounding adoration. The allusion of washing in someone's bathwatersignified an acceptance of your lover's faults -- indulging inthe person and all their emotional baggage.

Also a throwback to the band's horn filled show tune roots.Adrian notes its basic swing pattern, but its his raucousstomp that propels the song. Add in the punctuating hornarrangements and piano from frequent contributor GabrialMcNair and you have an unexpected hit.

(T. Kanal, G. Stefani, E. Stefani)Sappy pathetic little me That was the girl I use to be You had me on my knees

I'd trade you places any dayI'd never thought you could be that wayBut you looked like me on Sunday

You came in with the breezeOn Sunday morningYou sure have changed since yesterdayWithout any warningI thought I knew you I thought I knew youI thought I knew you well, so well

You're trying my shoes on for a changeThey look so good but fit so strangeOut of fashion, so I can complain

You came in with the breezeOn Sunday morningYou sure have changed since yesterdayWithout any warningI thought I knew you I thought I knew youI thought I knew you well, so well

I know who I am, but who are you?You're not looking like you used toYou're on the other side of the mirrorSo nothing's looking quite as clearThank you for turning on the lightsThank you, now you're the parasiteI didn't think you had it in youAnd now you're looking like I used to

You came in with the breezeOn Sunday morningYou sure have changed since yesterdayWithout any warningAnd you want me badlyYou can not have meI thought I knew youBut Ive got a new viewI thought I knew you welloh well

Produced by Matthew WilderRecorded by Phil KaffelMixed by Holman and Paul Palmer

Knock Yourself Out Music / Universal-MCA Music Publishing (ASCAP)

Photo: Daniel Arsenault

4:31from the album Tragic Kingdom (1995)

While the fact that it was written on a Sunday morning maybe self evident, that it was first brought to light in abathroom is less apparent. More correctly, it was composed from two opposing sides of a locked bathroom door.

Penned at Tony's parents' house in Yorba Linda, California,back when he and Gwen were a couple, "Sunday Morning" beganwith Gwen, sick in the bathroom, screaming 'Go away!' as Tonyserenaded her from outside on acoustic guitar. (First line warbled: "Someone is feeling quite ill.") A real romantic interlude?Not exactly.

Later, Gwen amended the lyrics to encompass her breakup withTony and how she'd finally regained her emotional footingpost-separation. The song is a perfect melding of tears andtriumph.

Today, Tom looks to its perfect fusion of reggae and rockas a breakthrough for the band. With its magnetic drumrolls, it remains one of Adrian's favorites to playon live.

(G. Stefani, P. Williams, C. Hugo, T. Kanal)The waves keep on crashing on me for some reasonBut your love keeps on coming like a thunderboltCome here a little closerCause I wanna see you baby real close up

You got me feeling hella good so lets just keep on dancingYou hold me like you should so Im gonna keep on dancing

A performance deserving of standing ovationsAnd who would of thought itd be the two of usSo dont wake me if Im dreamingCause Im in the mood come on and give it up

You got me feeling hella good so lets just keep on dancingYou hold me like you should so Im gonna keep on dancingYou got me feeling hella good so lets just keep on dancingYou hold me like you should so Im gonna keep on dancingProduced by Nellee Hooper and No DoubtRecorded by Greg CollinsProgramming: Fabien WaltmannAdditional engineering: Simon GogerlyAssistant engineers: Anthony Kilhoffer, Ian RossiterMixed by Mark Spike StentMix programming: Wayne Wilkins, Paul P Dub WaltonAdditional mix programming: Johnny GouldAssistant mix engineers: Matt Fields, David Treahearn, Keith Uddin World Of The Dolphin Music / Universal-MCA Music Publishing (ASCAP), Chase Chad Music / EMI Music Publishing (ASCAP) and Waters Of Nazareth Publishing / EMI Music Publishing (BMI)

Photo: Sonya Farrell

4:02from the album Rock Steady (2001)

In keeping with the collaborative tone of the Rock Steadysessions, the band teamed up with hip hop beat masters theNeptunes to write this track.

Feeling the need to expand creatively, Gwen drew the duo intothe fold. She wanted to incorporate the word "dance" into adriving chorus and the song proved the ideal outlet. TheNeptunes brought the funky rhythm track and the band had thejittery melody to go along. It was up to astute U.K. producerNellee Hooper to glue the parts together into the fun, danceable wholeit is now.

The right song at the right time, "Hella Good" was a summertimeanthem in 2002 and opened every show on that fall's RockSteady Tour.

(G. Stefani, T. Dumont)

Don't let it go awayThis feeling has got to stayDon't let it go awayThis feeling has got to stayAnd I can't believe I've had this chance nowDon't let it go away

New, you're so newYou, you're newAnd I never had this taste in the pastNew, you're so new

My normal hesitation is goneAnd I really gravitate to your willAre you here to fetch me out?'Cause I've never had this taste in my mouth

Oh youre not oldAnd youre not familiarRecently discovered and Im learning about you

New, you're so newYou, youre new

And you're consuming me violentlyAnd your reverence shamelessly tempting meWho sent this maniac?'Cause I never had this taste in the past

Oh you're different, you're different from the formerLike a fresh battery, I'm energized by you


Why am I so curious?This territory is dangerousI'll probably end up at the startI'll be back in line with my broken heartNew, you're so newYou, you're newAnd I never had this taste in the past


And I cant believe itCant believe it, cant believe it, cant believe itDont let it go away, this feeling has got to stayDont let it go away


4:24

Produced by Jerry Harrison and No DoubtRecorded by Karl DerflerSynthesizer: Gabrial McNairSonic manipulation by Sean BeavanMixed by Jack Joseph Puig


from the soundtrack GO: Music From The Motion Picture (1999)and the album Return Of Saturn (2000)

Produced by former-Talking Head Jerry Harrison(a longtime hero of the band), "New" was specifically

written for the soundtrack to Doug Liman's manic ravemovie Go. Initially, the band members were leery ofparticipating in any soundtracks. Agreeing that it hadto be the right movie and the right director -- it tookthem a while to finally settle on this project.

"New" provided a perfect cathartic outlet for Gwen, co-written with Tom while on tour: She had just met her futurehusband, found herself totally smitten, and wanted to lyricallycapture and celebrate the excitement of young love.

It was recorded between the Tragic Kingdom and Return Of Saturnsessions. Experiments were made with Adrian's drums, warpingtheir sound through several guitar pedals and effects.Harrisons retro-hip production hearkened back to the halcyon'80s new wave that continues to fuel No Doubt to this day.

"New" was No Doubt's first original material released sinceTragic Kingdom, tying over fans until their next albumand hinting at things to come. A year later "New" wasincluded on the Return Of Saturn album.

(G. Stefani, D. Stewart)Theres times when I want something moreSomeone more like meTheres times when this dress rehearsal Seems incomplete

But you see the colors in meLike no one elseAnd behind your dark glassesYoure something else

Youre really lovelyUnderneath it allYou want to love meUnderneath it allIm really luckyUnderneath it allYoure really lovely

You know some real bad tricksAnd you need some disciplineBut lately youve been trying real hardAnd giving me your best

And you give me the most gorgeous sleepThat Ive ever hadAnd when its really badI guess its not that bad


So many moons that we have seenStumbling back next to meIve seen right through and underneathAnd you make me betterIve seen right through and underneathAnd you make me better

Youve used up all your couponsAnd all you got left is meAnd somehow Im full of forgivenessI guess its meant to be


Produced by Sly & Robbie and No DoubtRecorded by Dan ChaseProgramming: Ned DouglasAdditional engineering: Tkae Mendez, Rory BakerAssistant engineer: Toby WhalenExecutive producers: Brian and Wayne JobsonKeyboards, trombone: Gabrial McNairAdditional melodic bass: Robbie ShakespeareSaxophone: Andy Potts, Django Stewart, Tony KanalMixed by Mark Spike StentMix programming: Wayne Wilkins, Paul P Dub WaltonAdditional mix programming: Johnny GouldAssistant mix engineers: Matt Fields, David Treahearn, Keith UddinLady Saw appears courtesy of VP RecordsWorld Of The Dolphin Music / Universal-MCA Music Publishing (ASCAP) and Eligible Music / BMG Music Publishing (ASCAP)

Photo: F. Scott Schafer

5:02


During one of Gwen's visits to her boyfriends Londondigs, she had a bold idea. Why couldn't the rest of NoDoubt fly with her and set up shop in Britain? And sothey did, moving into an adjacent flat. Simultaneously,the U.K. based Dave Stewart (of Eurythmics fame) had invitedGwen to co-write. Utilizing some backward string samples,the pair penned this tune within ten minutes.

The reggae-flavored track made its way to Jamaica, where producers Sly & Robbie added guest vocals from Lady Saw - thefirst lady of Jamaican dancehall. Looking back on their earlierreggae efforts, Tony admits they may have missed the mark. Butthis time -- using a traditional thumb playing technique requestedby Robbie -- the bassist believes he finally nailed thatephemeral vibe.

The third single off Rock Steady, it was utterly different from the bombast of previous singles "Hey Baby"and "Hella Good." Remarkably, it sunk into the publicconsciousness, eventually becoming a #1 Top 40 hit inthe fall of 2002.

(G. Stefani, T. Dumont)I'm like a beggar with no luck I'm holding signs up on your street corner stopsLike most you try not to see meYou stare straight ahead, ignore the responsibilityExcuse me...excuse me Mr.I've been waiting in line, and I'd like to buy some of your timeI'm very anxious, eager, willing, what's your billing?

So please excuse me Mr.Youve got things all wrongYou make it feel like a crimeSo dont confuse me Mr.Ive known you too longAll I need is a little of your time

For most love comes for freeThey don't pay the high cost of mental custody I'll pay bail for a guarantee Please make space for me in the time yet to be Excuse me...excuse me Mr.I've been waiting in line, and I'd like to buy some of your timeI've been saving up my life, what's your price?


What should I do? I'm about to crackAnd there's a force that comes over me It's almost as if I'm tied to the tracks And I'm waiting for him to rescue me The funny thing is he's not going to comeHe's not going to find me This is a matter of fact, the desire you lackThis is the way I guess it has to beA little of your time, I need a little of your timePlease a little of your time


I'm in line to buy time, I'm in line to buy time

Produced by Matthew WilderRecorded by Matt HydeTrombone: Gabrial McNairTrumpet: Phil JordanMixed by Holman and Paul PalmerKnock Yourself Out Music / Universal-MCA Music Publishing (ASCAP)

Photo: Jeffrey Bender

3:04from the album Tragic Kingdom (1995)

One of the first numbers logged for Tragic Kingdom, thetrack exudes confidence and punk energy. Oddly enough, itwas composed originally on acoustic guitar.

Producer Matthew Wilder oversaw the recording of two separateversions -- a country-tinged one that he liked; and therollicking rock take that the band preferred. In an unfortunatestudio accident, the band's version disappeared, erased forever.While the label and Wilder urged No Doubt to settle for thefolky take, the group held for ransom a final Tragic Kingdomtrack they'd written -- they'd add it to the sessions only ifthey were allowed to re-record "Excuse Me Mr." at its originalfrantic pace. They got their way (the ransom track wasSpiderwebs).

As the fourth single from the album, the raw energy, vocalrip and charging guitar of "Excuse Me Mr." provided asonic exclamation point to the Tragic Kingdom period.

(G. Stefani, T. Kanal)Run, running all the timeRunning to the futureWith you right by my side

Me, Im the one you choseOut of all the peopleYou wanted me the most

And Im so sorry that Ive fallenHelp me up, lets keep on runningDont let me fall out of love

Running, running, as fast as we canDo you think well make it?Were running, keep holding my handSo we dont get separated

Be, be the one I needBe the one I trust mostDont stop inspiring me

Sometimes its hard to keep on runningWe work so much to keep it goingDont make me want to give up

Running, running as fast as we canI really hope we make itWere running, keep holding my handSo we dont get separated

Running as fast as we canI really hope we make itWere running as fast as we canI really hope we make itWere running, keep holding my handSo we dont get separated

The future

Running, running, as fast as we canDo you think well make it?Were running, keep holding my handSo we dont get separated

Running as fast as we canI really hope we make itWere running, running, keep holding my handSo we dont get separated

Photo: Sonya Farrell

Produced by Nellee Hooper and No DoubtRecorded by Greg CollinsProgramming: Fabien WaltmannAdditional engineering: Simon GogerlyAssistant engineers: Anthony Kilhoffer, Ian RossiterAdditional programming and recording: Tom Dumont, Tony KanalMixed by Mark Spike StentMix programming: Wayne Wilkins, Paul P Dub WaltonAdditional mix programming: Johnny GouldAssistant mix engineers: Matt Fields, David Treahearn, Keith Uddin


4:01


Sometimes the simplest concepts bear the most creativefruit. For this decidedly new wave-ish track, Gwen andTony followed one basic prime directive: mold a tune inthe vintage vein of the 80s group the Thompson Twins.

Using a simple Yamaha keyboard that Tony's father bought himin eighth grade, the duo sat down in Tony's living room - thechords came almost instantly, the words a nanosecond later.

Filtered through the band's sensibilities, the track was maturingbeyond those initial influences. But it was far from done. Atfirst, No Doubt attempted a spacier version of "Running," buteveryone involved agreed that it buckled under its own weight.That's when producer Nellee Hooper added his Midas touch. Ina process of studio alchemy, the track was boiled down to itsessential elements and at long last came together.

As Rock Steady's final single, it proved to be a noble swan song.

(G. Stefani, T. Kanal)You think that we connectThat the chemistries correctYour words walk right through my earsPresuming I like what I hear

And now I'm stuck in the web you're spinningYou've got me for your prey

Sorry Im not home right nowIm walking into spiderwebsSo leave a message and Ill call you backA likely story, but leave a message and Ill call you back

Youre protruding on what's mineAnd you're taking up my timeDon't have the courage inside meTo tell you please let me be

Communication, telephonic invasionI'm planning my escape


And it's all your faultI screen my phone callsNo matter who callsI gotta' screen my phone calls

Now it's gone too deepYou wake me in my sleepMy dreams become nightmares'Cause you're ringing in my ears


Produced by Matthew WilderRecorded by Matt HydeTrombone: Gabrial McNairTrumpet: Phil JordanSteel drum: Stephen PerkinsMixed by Holman and Paul PalmerKnock Yourself Out Music / Universal-MCA Music Publishing (ASCAP)


4:27

from the album Tragic Kingdom (1995)

Track #1 on Tragic Kingdom for a reason, "Spiderwebs"was the opening statement to the band's new sound.

Coming to the end of a three year recording process, the bandfound themselves increasingly frustrated. One day Gwencornered Tony, forcing him to write another song. Lyrically,it represented the entanglements of overly ardent suitors, likethe guy who'd been phoning Gwen at all hours to recite bad poetry.Tony remembers the song's odd musical inspiration: Blondie'ssleek version of the old reggae classic, "The Tide Is High." Inthe studio Adrian fell into rhythmic line, sourcing his parents'Peter Tosh and Bob Marley albums for inspiration, while StephenPerkins (Janes Addiction/Porno For Pyros) added a touch ofsteel drum to the track.

As the follow up single to "Just A Girl," "Spiderwebs"became a major hit on its own, finding common ground withthose of us who can't help screening our calls and revokingany notion at that time of No Doubt being a one hitwonder.

(G. Stefani) For a long time I was in loveNot only in love, I was obsessedWith a friendship that no one else could touchIt didnt work out, Im covered in shells

And all I wanted was the simple thingsA simple kind of lifeAnd all I needed was a simple manSo I could be a wife

Im so ashamed, Ive been so meanI dont know how it got to this pointI always was the one with all the loveYou came along, Im hunting you down

Like a sick domestic abuser looking for a fightAnd all I wanted was the simple thingsA simple kind of life

If we met tomorrow for the very first timeWould it start all over again?Would I try to make you mine?

I always thought Id be a momSometimes I wish for a mistakeThe longer that I wait the more selfish that I getYou seem like youd be a good dad

Now all those simple thingsAre simply too complicated for my lifeHowd I get so faithful to my freedom?A selfish kind of lifeWhen all I ever wanted was the simple thingsA simple kind of life

Produced by Glen BallardRecorded by Alain JohannesAdditional recording by Scott Campbell and Bryan CarriganMellotron: Gabrial McNairMixed by Jack Joseph Puig


Photo: David LaChapelle

4:16

from the album Return Of Saturn (2000)

The first No Doubt song ever composed in whole by Gwenalone - words and music.

But it would not have existed had it not been for a lastminute recording session called to assemble more material.Born in that session, "Simple Kind Of Life" was one of thefinal songs recorded for Return Of Saturn. As most of the bandfinished a track in the studio upstairs, Gwen secluded herselfdownstairs with a new found proficiency in guitar and a notepad.She laid down the song and raced upstairs proclaiming "I thinkI wrote a song!" Tom recalls with pride Gwen's mastering ofenough guitar to fully realize her own material.

Penned on a Friday, it was recorded the following Monday atRoyaltone Studios in North Hollywood - no rehearsals, no studiotinkering. Adrian's drums were mixed through lo-fi filtersfor a power-ballad feel. Its clean simplicity was maintained through the recording process. The song wasa clear choice to make the album and became the secondsingle off ROS.

(E. Stefani, G. Stefani)You and meWe used to be togetherEveryday together always

I really feelI'm losing my best friendI can't believe this could be the end

It looks as though you're letting go And if it's real, well I don't want to know

Dont speakI know just what youre sayingSo please stop explainingDont tell me cause it hurtsDont speak I know what youre thinkingI dont need your reasonsDont tell me cause it hurts

Our memories They can be invitingBut some are altogether mighty frightening

As we die both you and IWith my head in my hands I sit and cry

Dont speakI know just what youre sayingSo please stop explainingDont tell me cause it hurtsDont speak I know what youre thinkingAnd I dont need your reasonsDont tell me cause it hurts

It's all ending, I gotta stop pretending who we are

You and me I can see us dying...are we?

Dont speakI know just what youre sayingSo please stop explainingDont tell me cause it hurtsDont speak I know what youre thinkingAnd I dont need your reasonsDont tell me cause it hurts

Produced by Matthew WilderRecorded by Phil KaffelCello: Melissa HasinMixed by Holman and Paul PalmerKnock Yourself Out Music / Universal-MCA Music Publishing (ASCAP)


4:22

from the album Tragic Kingdom (1995)

Gwen recalls walking into the band's BeaconStreet house in Anaheim, California, where the

group had wisely constructed a 16-track studio inthe garage, to find her brother Eric playing andsinging one of the most beautiful melodies she'd everheard. It was titled "Don't Speak" he told her and theyset about committing it to tape.

The first finalized version had too many unwieldy parts. Bythe band's own admission, they were prone to over-complicating arrangements. Producer Matthew Wilder pointedthis out and asked for a re-write. Gwen and Eric returned tothe piano one more time and arrived at the subtly gorgeous ballad heard here.

Tony terms the process an awakening. The band was at last discovering how to trust the voice of an outside producer, aswell as how to edit its own work. Songs, the band decided,were children, and they often (but not always) requiredthird-party objectivity in order to grow up.

This little song just happened to grow into a monster.Having already scored hits and an MTV following with"Just A Girl" and "Spiderwebs," "Don't Speak" strucka chord with the masses to become a #1 hit, elevating the band's popularity to a level noyoung band can conceive and for which nopreparation exists.

(G. Stefani, T. Dumont, T. Kanal)I kinda always knew Id end up your ex-girlfriendI kinda always knew Id end up your ex-girlfriend

I kinda always knew Id end up your ex-girlfriendI hope I hold a special place with the rest of themAnd you know it makes me sick to be on that listBut I should have thought of that before we kissed

You say youre gonna burn before you mellowI will be the one to burn youWhyd you have to go and pick me?When you knew that we were different, completely

I kinda always knew Id end up your ex-girlfriendI kinda always knew Id end up your ex-girlfriendI hope I hold a special place with the rest of themI kinda always knew Id end up your ex-girlfriend

Im another ex-girlfriend on your listBut I should have thought of that before we kissed

Your wildness scares me So does your freedomYou say you cant stand the restrictionsI find myself trying to change youIf you were meant to be my lover I wouldnt have to

And I feel so mean, I feel in betweenCause Im about to give you away

I kinda always knew Id end up your ex-girlfriend (for someone else to take)I kinda always knew Id end up your ex-girlfriend (am I making a mistake?)I hope I hold a special place with the rest of them (all the time that we spent)I kinda always knew Id end up your ex-girl, friend

Im another ex-girlfriend on your listBut I should have thought of that before we kissedIm another ex-girlfriend on your listBut I should have thought of that before we kissed

Im about to give you away for someone else to takeIm about to give you away for someone else to take

We keep repeating mistakes for souvenirsAnd weve been in between the days for yearsAnd I know that when I see you Im going to dieI know Im going to want you and you know whyIts going to kill me to see you with the next girlCause Im the most gorgeously jealous kind of ex-girl

But I should have thought of that before we kissed

I kinda always knew Id end up your ex-girlfriend I kinda always knew Id end up your ex-girlfriendI hope I hold a special place with the rest of them I kinda always knew Id end up your ex-girlfriend

Im another ex-girlfriend on your listBut I should have thought of that before we kissedIm another ex-girlfriend on your listBut I should have thought of that before we kissed

Produced by Glen BallardRecorded by Karl DerflerAdditional recording by Scott Campbell and Bryan CarriganSynthesizer, piano: Gabrial McNairSonic manipulation by: Sean BeavanMixed by Jack Joseph PuigWorld Of The Dolphin Music / Universal-MCA Music Publishing (ASCAP)

Photo: Chris Cuffaro

3:31from the album Return Of Saturn (2000)

Return Of Saturn began as a studious exercise, anopportunity for members to truly establish them-

selves as songwriters. Hence the potpourri of styles-- from vintage new wave to classic Flamenco guitar --shaping this single. Originally, Gwen composed it on guitarin her bedroom, imagining a more Prince-funky vibe -- slow,forlorn, with more details of the relationship's demise.

Producer Glen Ballard liked the song, but said the albumrequired another fast track, not a dirge. Tony and Gwen joinedTom (who'd just purchased a hi-tech Pro-Tools kit for hiscomputer) at his Long Beach abode. They left Gwen alone withonly a programmed drum track. She went crazy. Rapping herlyrics instead of warbling them, she soon revved "Ex" up to theappropriate speed. It marked the first time that No Doubt wouldexperiment with looping -- playing one small guitar or basspart and repeating it over and over, via a digital recordingsystem. The computer, the band was realizing, was definitelytheir friend.

Anchoring the much anticipated return of No Doubt aftera 5 year gap in releases, "Ex-Girlfriend" was the firstsingle off Return Of Saturn and like a rocket, launchedthe band back to prominence and the charts.

(E. Stefani, T. Dumont, G. Stefani, T. Kanal)Trapped in a box of tremendous sizeIt distorts my vision, it closes my eyesAttracts filthy flies and pollutes in the skiesIt sucks up our lives and proliferates liesTrapped in a box

Trapped in a box, four walls as skyGot a screen for a window about two feet wideMy mind rides and slides as my circuits are friedNo room for thought, use the box as my guideTrapped in a box

Trapped in a boxWatch the world as it flocksTo life's paradoxWe're all trapped in a box

Trapped in a box I'm not aloneI know of others with a box as their homeLight only enters from a crack or a holeThis is not enough for a human to growTrapped in a box


Always wanting a different viewInstant gratification for youReality gone with a single clickI just hope that that switch won't stick

Trapped in a box my life becomes voidAll I thought for myself is now destroyedControlling my mind, what to eat, what to buySubliminal rules: how to live, how to dieTrapped in a box


Produced by No Doubt and Dito GodwinRecorded by Michael CarnevaleSaxophones: Eric CarpenterTrumpet: Don HammerstedtTrombone: Alex HendersonKnock Yourself Out Music / Universal-MCA Music Publishing (ASCAP)

Photo: Chris Cuffaro

3:26

from the album No Doubt (1992)

The oldest track in this collection, "Trapped In A Box"is the sole representative of No Doubt's eponymous majorlabel debut and a good barometer for their development.Beginning as a poem Tom wrote for school, bandleader at thetime Eric Stefani then shaped the arrangement with everyonecontributing lyrics.

Together for six years when recorded, the band had moved beyondtheir ska roots. The horn section and quasi-ska rhythms remaininspired by those early Madness/Fishbone influences, while theemerging sense of flow and pop bounce makes the track a benchmarkfor the time and a notable milestone today.

Ostensibly their first official single, "Trapped" was admittedlytoo out there for the radio of the time. It wasn't aggressivelypromoted and largely fell upon deaf ears in a worldenthralled with an "alternative revolution" mainly centered on male aggression. That changed soon enough.

Art direction / design: Jolie ClemensPhotography and art coordination: Nicole Frantz and Stephanie Hsu / Interscope RecordsAlbum packaging coordination: Cindy Cooper / Interscope RecordsCover photography: Frank W. Ockenfels 3Liner notes: Paris Montoya and Tom Lanham

Mastered by Brian "Big Bass" Gardner @ Bernie Grundman Mastering, Hollywood, CaliforniaPost engineering: Chuck Reed and Jared Andersen

A&R direction: Mark Williams, Tony Ferguson / Interscope RecordsManagement: Rebel Waltz, Inc.Legal representation: Seth Lichtenstein, Jeremy Mohr / Goldring, Hertz & LichtensteinBusiness management: Larry Einbund, Linda Lapetino / Provident Financial ManagementBooking: Mitch Okmin / MOB AgencyBooking (Europe): Dave Chumbley / Primary Talent International Ltd.Band assistance: Chris Fenn

Interscope Records: Steve Berman, Candace Berry, David Cohen, Dennis Dennehy, Wendy Diplock, Scott Enright,Jenn Federici, Marc Friedenberg, Lorie Harbough, Morgan Hartmann, Megan Healy, Courtney Holt, Ray Ibe,Jimmy Iovine, Martin Kierszenbaum, Paul Kremen, Sherry Kunkel, Chris Lopes, Robbie Lloyd, Andrew Luftman,Christina Meloche, Karen Rait, Brenda Romano, Herve Romain, David Saslow, Melissa Taylor, Dave Tomberlin,Cyndy Villano, Terry Wang, Tom Williams

www.nodoubt.com

www.nodoubt.comwww.nodoubt.com

Interscope Records, 2220 Colorado Ave., Santa Monica, CA 90404. Manufactured and distributed inthe United States by Universal Music & Video Distribution, Corp. 2003 Interscope Records. Allrights reserved. Printed in the U.S.A. Warning: Unauthorized reproduction of this recording isprohibited by Federal law and is subject to criminal prosecution. IN02 www.interscope.com

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digital booklet - the singles

Documents

formed group

singer gwen stefani

clubs turnedto theaters

live stage energy

year romantic relationship

band cofounder eric

sister gwen

family piano