Never Gone Japan Regular Press CD

The initial release of Never Gone released on 6/8/2005, 6 days before global release. Without the first press benefit, mobile screen protector.

Album Comment:

“In 2004, it had been four years since our last visit to Japan, so we were really happy. The fact that all five shows were completely sold out truly surprised us. The cheers from the Japanese fans at that time gave us huge inspiration when we began writing songs again — it really motivated us,” said Howie D. Although the concerts were only held in Tokyo, the sight of Yoyogi Gymnasium filled with BSB fans and the five members on stage is still enough to make one’s heart tighten when looking back.

Even after such a long break in group activities, so many fans had been waiting for the Backstreet Boys’ return. Unlike concerts that attract audiences through fleeting trends or hype, this one was filled with truly loyal fans who loved BSB’s music — and loved them. The atmosphere was as pure and clear as a cloudless blue sky. The five members themselves were the ones who most deeply felt that purity, and Howie’s words confirmed it.

Half a year after the Japan shows, in April 2005, I met BSB in Milwaukee, Wisconsin. They were in the middle of a small club tour — a warm-up for their upcoming world tour starting that fall, as well as a chance to reconnect with U.S. fans. Assuming that the tour meant recording had already finished, I had prepared many questions about the new album — but in fact, at that time, the tracklist hadn’t even been finalized.

When I joked, “So, it’s still incomplete?” they laughed, and Nick replied with a grin, “Yeah, we might re-record two or three songs after the tour. So, yeah — Incomplete! Exactly!”It was understandable that they were being cautious, since this would be their first album release in five years, following Black & Blue. Still, the wait felt long. But after hearing them talk, I began to understand — the process of five people coming together again after years apart, rediscovering their chemistry, and finding the energy and courage to challenge new things — it wasn’t something easy.

By the fall of the previous year, they had already recorded about 45 songs. Yet the biggest point in finishing the new album seemed to be finding the right direction. Kevin said, “We started working on the album about a year and a half ago, but it took a while to decide on a direction. At first, we were thinking of doing something more R&B or hip-hop inspired. But over the past six months, we started wanting to try things we’d never done before — including more experimental approaches. As a result, I think the album naturally developed a stronger rock feel.”

“Just Want You To Know” is one of those results — a song centered around Nick’s style, filled with rock energy.

Brian added, “When I recorded Climbing The Walls in New York with Max Martin, we started to see where the album was heading. Then we completed I Still…, which really captured our new direction together with Max. It’s a very commercial song — and it was even considered as a potential single.”

Climbing The Walls had actually been performed during the Japan shows, introduced as “a new song.” Hearing it live left a fresh impression, but listening to the finished studio version made me realize how great the song really was. Brian said, “Of course the live sound is different from the CD — in the studio, everything’s perfected. But live, it’s one of those songs that really lifts the atmosphere.” His dramatic vocal style especially shines in Crawling Back To You.

Howie talked about the struggles of rebuilding their direction: “Since we hadn’t worked together for four years, just starting up again was a challenge. We had to think about whether our harmonies and vocal parts would still blend. But as time went by, things started to come back naturally. When we couldn’t decide on a direction, we just stayed open-minded and tried different things until we found our way. Working with Max again helped solidify that direction.” Brian, sitting beside him, interjected with a laugh, “Being open-minded was good, but it also caused a lot of confusion, right?” Howie smiled. “True, but because of that process, we are where we are now. And for the first time, we got to choose our producers ourselves, not leave everything to others — that was something completely new for us.”

The new album, Never Gone, was a major challenge — not only working again with Max Martin, but also collaborating with completely new producers and songwriters, including Mark Taylor and John Shanks.

John, a top producer who had worked with Céline Dion, Sheryl Crow, Michelle Branch, and Stevie Nicks — and recently with Lindsay Lohan — brought a fresh energy.

Nick explained, “Working with new producers brought us back to the basics. With Max, we understand each other completely, so things go smoothly — he knows our personalities and vocal strengths. But with new producers who don’t know our voices, we recorded all five of us on every song first, then discussed together who should sing each solo part. It was a really democratic way of working. Some songs even ended up with all five of us taking solo parts. The result is a very BSB album that really uses the group’s collective strength.”That can be felt in Safest Place to Hide, produced by John Shanks — the solo parts clearly reflect this new creative process.

The first single, Incomplete, surprised some fans who expected an uptempo comeback. Its grand and emotional sound was a deliberate and natural choice for the members. After sharing demo copies not only with their label but also with radio stations and seeing positive listener reactions, they decided it would be the lead single.

The song was written and produced by Dan Muckala, who had worked on remixes for Plumb and written for Kimberly Locke.

The music video was also stunning — each member representing a different natural element that matched their persona: A.J. as light, Nick as fire, Howie as rain, Kevin as snow, and Brian as waves. The imagery of the five meeting again against a setting sun made it a deeply dramatic visual experience. Weird World, written by John Ondrasik of Five for Fighting, marked an entirely new world for BSB — a message song about how people can be so absorbed in their own lives while others across the world are fighting for freedom. Poster Girl, written by Billy Mann (who had worked with P!nk, Kelly Rowland, Celine Dion, Ricky Martin, Sting, Hall & Oates, and Jessica Simpson), carried his signature pop craftsmanship.

The now-familiar My Beautiful Woman was written by Paul Wiltshire, who had previously collaborated with Avril Lavigne, Hilary Duff, and Britney Spears, and who had recently founded PLW Studios in L.A. with Victoria Wu.

The title track, Never Gone, was co-written by Kevin and his friend Gary Baker. “This song is dedicated to my late father,” Kevin said. “It’s about how much I miss him and how he’ll always be in my heart. I’m a little nervous about whether I can sing it live without crying. I’ll have to practice until I can perform it without tears — but maybe the first few times, I won’t be able to hold them back.”

Lose It All is a beautiful pop ballad — one that reminds you again just how special this group is. The bonus tracks were just as impressive: Movin’ On, written by Howie, was produced by the a cappella group Take 6, turning it into a pure vocal harmony track unique to BSB. Another, Rush Over Me, written by all five members and produced by The Underdogs, showcased their growth as songwriters. Like The Answer to Our Life and Time from Black & Blue, it’s a song filled with their collective soul — with that unmistakable “this is BSB” chorus work that fans love.

Milwaukee, usually a quiet city, was filled with excitement that night. Their concert — featuring Incomplete, I Still…, and Weird World.

Their passion and energy in front of 3,000 fans were no less than performing before tens of thousands. Wherever they are, BSB always gives 100%. That’s their greatest charm — always the best version of themselves, never disappointing their fans. During Poster Girl, A.J. joked, “This song’s about a glamorous girl — hey Nick, isn’t that your type?” Nick laughed and said, “I’ve had enough of that!” — a moment that showed the relaxed maturity of the “grown-up” Backstreet Boys and made everyone smile.

From their debut album Backstreet Boys in 1996, to Backstreet’s Back (which sold 13 million copies in the U.S.), to Millennium (30 million copies worldwide and #1 in 25 countries), to Black & Blue and Greatest Hits: Chapter One, the group’s total album sales reached 70 million. In Japan, Millennium, Black & Blue, and Greatest Hits each sold over one million copies — a rare achievement unmatched by most international artists over the past decade.

Now, after a four-year hiatus, BSB was opening the chapter 2 of their story.

“We each needed time to grow,” said A.J. “Because of that break, we came to understand and respect each other even more. Some people thought we broke up, but that was never true. Even on small tours, we’re having fun together. Back then, we used to travel on separate buses, but now we’re all on the same bus — and it feels great.”

During their non-stop seven years since debut, rumors were inevitable when they took a break. Even if “disbandment” never crossed their minds, A.J. admitted that there was a time when they needed separate buses just to keep private space. But those four years apart ultimately deepened their bond. Their new album Never Gone carries a message — that they would never disappear from their fans’ hearts.

Nick closed with his trademark grin: “We’ll definitely come back to Japan. If I could choose, I’d live there!”

Their world tour starting that fall promised to reach every corner of the globe — the opening of chapter 2, powered by the full energy of the Backstreet Boys.

— Keiko Imaizumi May 2005