Mayonaise

"A song gets very specific in the studio; everything from the tempo to the instrument can determine the feeling. How do we want the drums, what's the intent there? How aggressive is the bass going to be? The amount of treble you use, the kind of strings you play- all those things determining a kind of emotional bed for the songs. You can get a song like 'Mayonnaise,' which has loud guitars but the attack is still muted, kind of lush even though it's loud. Or a song like 'Disarm,' which is probably the most intense moment on the record even though it's not loud at all. It was a great lesson to me to know that you didn't have to be loud and abrasive to create that kind of head rush."

1993-Pulse

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"We call this the 'Mayonaise' guitar," he says, extracting a pawnshop-special Kimberly from its case. "It's got those microphone pickups. I bought it for 65 bucks and I've used it on about four songs, so I guess it's paid for itself."

1995 Guitar World

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"You know how I got the title Mayonnaise? I looked in my refrigerator "

1996-Dublin Interview

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Billy: Um...sometimes you just gotta open up your brain and just see what comes in. Mayonnaise was like one of those. James said 'what are we going to call this song?' And I just said, 'Mayonnaise' And that was the end of it. I spend more time explaining Mayonnaise then we actually spent writing it, recording it, and playing it."

1996-Kroq Breakfast with Billy

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"Different tunings, like effects, will make the guitar seem like a whole new instrument. James wrote "Mayonnaise" after just screwing around with tunings until he came up with something he liked. Using this tuning, he stumbled across an Ebsus2/Cm/Ab chord progression, which ultimately shaped the song. For the record we're working on now, we're tuned down a half step for everything. This alone is altering the way we play and how our songs will sound."

1997-Guitar World