From JimmyEatWiki
Futures Album Cover
Written: 2004-10-19
Released: 2004-10-19, 2004-12-07 as Single
First Played: Live: 2004-08-26 at Troubadour, West Hollywood, CA, USA [1]
Length: 3:23
Label: Interscope Records
ISWC: T0720619782 [2]
Writer: Jimmy Eat World
Publisher: Turkey on Rye Music [2]
Producer: Gil Norton
Key: Ab Major [3]
BPM: 115 [3]

Work is a song from the 2004 album, Futures; it was the second single released from that album. The song was written by Jim Adkins and features backing vocals by Liz Phair. "Work" was released to radio on December 7, 2004.[4]

Appears On

  • Futures All Editions
  • One Tree Hill Episode 02x22 The Tide That Left And Never Came Back [5]
  • Gossip Girl


[Verse 1]

If you only once would let me

Only just one time

Then be happy with the consequence

With whatever's going to happen tonight

Don't think we're not serious

When's it ever not?

The love we make is give and it's take

I'm game to play along


All I can say, I should've said


Can we take a ride?

Get out of this place while we still have time

[Verse 2]

The best DJs are saving their slowest song for last

When the dance is through, it's me and you

Come on, would it really be so bad?

The things we think might be the same

But I won't fight for more

It's just not me to wear it on my sleeve

Count on that for sure

[Pre-Chorus] All I can say, I should've said


Can we take a ride? Get out of this place while we still have time

You want to take a ride? Get out of this place while we still have time

Yeah, we still have time [Bridge]

I can't say I was never wrong But some blame rests on you

Work and play, they're never okay to mix the way we do [Pre-Chorus]

All I can say I should've said [Chorus]

Can we take a ride? Get out of this place while we still have time

You want to take a ride? Get out of this place while we still have time

And we still have time

Recording Details

Given Bleed American's commercial and critical success, the band extended their touring for the album. Following this long tour, Jimmy Eat World vocalist Jim Adkins said "it took longer for us to decompress and get back to the place where you just sort of forget anyone's going to be hearing what you're doing, and just work on something for the sake of the song." [6] On 2003-05-23 Jim said that the band had a lot of new material and would record sometime thereafter with longtime producer Mark Trombino in Los Angeles, California. [7] In mid-July, the band began pre-production on 18 songs[8] including some with vocals by Tom Linton. By early August the group had narrowed this down to 14 songs to record[9]. In September 2003, after five weeks, recording sessions were nearly finished with the song count back up to 16 and Jim expecting an early 2004 release with a tone that was "a little bit darker” than Bleed American “But I’m sure dark for us is nowhere near dark for most.” [10].

At this point in the recording process there was a falling out with Trombino as they ran out of song ideas, eventually resulting in a re-recording of futures with Producer of record Gil Norton.

After Tormbino's departure, the band decided to "get out of the studio, take a break, play some shows, kind of re-group [and] get to be a band again. And after we had done that, we just decided that it may be better to go to back to the studio with a new person." said Adkins. This resulting in a re-recording of futures with producer Gil Norton[11] [12]. The band still speaks highly of Trombino, "I really think he's one of the best people out there making records" [13]. The band would later reunite with Trombino for Believe in What You Want, Stay on My Side Tonight and Invented. Many years later Zach discussed this in tweets prior to the 2021-01-29 Futures Phoenix Session. [14] [15] [16]. Adkins reflecting on it later remarked "The whole Futures thing when we started making a record with Mark, we were nowhere near ready to start making a record. It was an unfortunate result of a lot of bad decisions in the way things ended up. It doesn't matter. I wouldn't want to work with people who aren't extremely passionate about their ideas and their contributions, as long as in the back of your head everyone knows they're on the same side. Everyone's trying to make the best song recording possible. Things can get really heated in the battle for that, but in the end everyone's on the same side." [17] At the time, Trombino's departure delayed release of the album into later in 2004 and Believe in What You, a stop-gap video/live-album was released in October [18]. The following month, the band's label, DreamWorks, was bought by Universal Music Group and absorbed into Interscope Records, likely further delaying the release [19] [20].

Regrouping in the studio in after the tour in late 2003 the band re-grouped and wrote Work, Pain, and 23. [21] having worked with Trombino for around 10 years and with fresh perspective and materials they wanted to see what ideas another producer would suggest [22] The members had liked albums by the different acts that producer Gil Norton had produced, such as the Pixies, The Distillers, and Dashboard Confessional. Norton spent two da[23]ys at Jimmy Eat Worlds studio, [11] where the band showed him demos they had done [24]. Norton enjoyed the demos and was enlisted by the band to produce their next album [11] . Pre-production started and lasted for a month [25] before recording sessions began in February 2004[11] at Cello Studios in Los Angeles where the drum parts and a few basic tracks were completed. Lind said that Norton really pushed him to challenge himself to do more than the simple drum patterns heard on Clarity and Bleed American. [13] After leaving Cello, recording moved to the home studio of Harvey Moltz, a friend of the band, in Tucson, Arizona. This change of scenery from California, proved to be less distracting than Cello and was where most of the album was recorded. During the course of the sessions, they band recorded up to 9 or 10 versions of each track [26] Additional recording was done by the band at their studio in Tempe, Arizona. Strings were recorded at Oceanway Studios in Los Angeles with Jake Davies, who was assisted by Greg Burns. Norton and engineer David Schiffman were assisted by Jason Grossman and Steven Rhodes [27]. Recording sessions were concluded in 2004-05, with mixing taking place in mid-2004-06 [28] with Rich Costey at Cello Studios. Costey was assisted in this process by Claudius Mittendorfer with secondary engineer Dan Leffler. Ted Jensen then mastered the recordings at Sterling Sound in New York City. Costey and Davies acted as additional engineers; and Davies also did digital editing [27].

Reception with Charting Data/Certification/Sales Data


Other Versions

Gil Norton Demo Version

The Gil Norton Demo can be heard here the Demo Disc from the Deluxe version of Futures or on various International Versions of the album, e.g. the Futures Japanese Deluxe version. This version is much shorter at 2:41

See Also


  1., Jimmy Eat World Setlist at Troubadour, West Hollywood, CA, USA, 2004-08-26,,, 2022-09-30,
  2. 2.0 2.1, ACE Repertory,, ASCAP, 2022-09-30,
  3. 3.0 3.1, 2022-09-30, Tunebat, Tunebat, 2022-09-30,
  4. url= Airplay Archive: Modern Rock|publisher=Friday Morning Quarterback Album Report, Incorporated|accessdate=October 30, 2016
  5. |url=|title= One Tree Hill Musi|accessdate=January 16, 2021
  6., Jimmy Eat World Say If You Don't Like Futures Right Away, Don't Bother, D'Angelo, Joe, 2004-09-01, MTV, 2021-02-09, In the more than five months it took to put Futures together, the songwriting notwithstanding, the band took a more meticulous approach than usual. Thanks to the success of its last album, which sold 1.3 million copies and yielded four singles, it had a lot to live up to. While recording the album in Los Angeles and Tucson, Arizona, the bandmembers swore to themselves that they wouldn't settle for anything but their best work. But before they could start recording, they had to allow their feet to come back to Earth. "Because the last record was so widely accepted, and we toured behind it for almost two years, it took longer for us to decompress and get back to the place where you just sort of forget anyone's going to be hearing what you're doing," he explained, "and just work on something for the sake of the song.",
  7., Jimmy Eat World Gearing Up To Record Next Album, Moss, Corey, 2003-05-23, MTV, 2021-02-09, BEVERLY HILLS, California — Jimmy Eat World are at a comfortable stage in the making of their next album — the middle. The Mesa, Arizona, rockers are about finished with the writing and are gearing up to hit the studio soon. "We have a sh--load of new songs and they're just kind of awaiting the editing process," singer Jim Adkins said at last week's ASCAP Pop Music Awards. "Realistically, we'll be maybe making a new record for real in the summer." Jimmy Eat World will again record in a Los Angeles studio with Mark Trombino (Blink-182, Finch), who produced the group's previous three albums. "It's a lot of rock and it's a lot of melodies," bassist Rick Burch said of the new material. "It's really varied right now. We gotta narrow it down and focus it." The success of Jimmy Eat World's self-titled third album, which included the hits "The Middle," "Sweetness" and "Bleed American" (see "Pop Goes The Emo On Jimmy Eat World's Bleed American"), will not affect the band's approach to music. "We're trying to not think about it and just focus on the songs and just do what we do," Adkins said.,
  8., yo yo yo, what it is., Lind, Zach, 2003-07-16 10:48 PM, 2021-02-09, yo yo yo, what it is. Posted on Wednesday, July 16, 2003 @ 10:48 PM by Zach so the making of LP5 is kicking into high gear. although we are not officially tracking the song for real yet, we are hard at work with our long time producer friend Mark Trombino. he has been spending a lot of time with us in the crazy desert heat to widdle down, rockify, and chisel these songs into the buggin' joints that they need to be. we will start recording the record in a unspecified studio in an unspecified land in the first week of august. we are currently working on 18 different songs and are also hoping for some more songs to come to life before that time. a few songs that people have been asking about are sparkle and untitled with tom vocals on it. we are working on both of those songs for this next record and they will be recorded. we aren't sure if they will make the record or not. also, beware that these songs will be pretty different from what you may have heard, so don't expect something that sounds like what you are used to. well, if you anyone has any specific questions about the new songs, post them there and i will try to get you some answers. also, please notice at the bottom of our main page is a banner linking to DATA, an organization that is helping the fight against aids and poverty in Africa. please check it out and get involved in any way you can to help in this cause. thanks, zach [posted 7/16/2003 U.S.A.],
  9., Lind, Zach, 2003-08-07 3:44 PM, 2021-02-09, in the studio at last... Posted on Thursday, August 07, 2003 @ 3:44 PM by Zach hey all, we are finally in our location of recording and it feels great. we have finalized our list of 14 songs to record and we are currently working on getting some of the drums tracked. everything is sounding amazing so far and we are having a great experience. we are in our 4th day in the studio and we have 6 songs of drums in the can. while i have been tracking, the other guys have been honing their skills as tony hawk 4 masters. jim got the code to be jango-fet from star wars or eddie from iron maiden artwork. also, we have been checking out this awesome website called where there are some life changing clips to be downloaded. everyone needs to check it out. well, thats about it for now, will check in later. zach [posted 8/7/2003 U.S.A.],
  10., Darker World!, NME, 2003-09-25, NME, 2021-02-09, DARKER WORLD! The EMO heroes are almost finished the follow-up to 'Bleed American'... By NME 25th September 2003 Jimmy Eat World are almost finished the “darker” follow-up to their 2001 breakthrough ‘BLEED AMERICAN’. The band are hard at work in a California studio with longtime producer Mark Trombino. ADVERTISING Due out early next year, the album is “a little bit darker” than the last record, frontman Jim Adkins told Rolling Stone. “But I’m sure dark for us is nowhere near dark for most.” Advertisement The band plan to record 16 songs, and five weeks into the sessions, Adkins says there are only a couple more songs to complete. “No matter how much time you give yourself, you wish you had more,” he says. “But it sounds really good.”,
  11. 11.0 11.1 11.2 11.3, Dissected: Jimmy Eat World (with Jim Adkins), Kaye, Ben, 2013-06-14, Consequence of Sound, 2021-02-09, Oh bye, Mark! Trombino was originally attached to the album, but creative differences forced him to take his leave. Gil Norton stepped in to fill some big shoes.,
  12., A Jimmy Eat World article that does not contain the word 'emo', Seigel, Stephen, 2004-10-21, Tucson Weekly, Tucson Weekly, 2021-02-25,
  13. 13.0 13.1, Mean Street Magazine 10.04. Jimmy Eat World, Rashidi, Waleed, 2004-10, 2021-02-09, Mean Street Magazine 10.04 Jimmy Eat World By Waleed Rashidi "I think we expected to be able to get our records in more stores and [get] exposure to people so that they might want to go get them," says Jimmy Eat World vocalist Jim Adkins of his band?s signing to DreamWorks and the subsequent release of his previous full-length, 2001's Jimmy Eat World. "But none of us could?ve ever predicted or expected what happened after that." he ?what happened? Adkins is referring to is the incredible transformation of Jimmy Eat World, a band that was once sliced from the ranks of Capitol Records? rock division. This was the same band whose popularity initially swelled in the emerging underground indie rock circuit. And it?s still the same group whose image was about as anonymous and inoffensive as a clean-cut university undergrad. All the aforementioned morphed into the musical powerhouse that, just a year after its DreamWorks debut hit store shelves, was awarded a Platinum record, ventured on a tireless string of tours, and dominated the nation?s mainstream modern rock airwaves and music video networks through a series of hit singles. Not to play the game of ?we told you so,? but it?s hard to look back and ignore the immense crescendo of momentum that lead to the band?s eventual eruption in popularity. Perennial faves in the media, the Tempe, Ariz.-based foursome certainly had a few cards stacked in their favor before the self-titled album?s launch (originally titled Bleed American). Mean Street ran the August 2001 cover story that hit the streets around the time that effort hit store shelves, and the Eat Worlds even landed a cover inset photo (December 1998) before the release of 1999?s Clarity. This month, Jimmy Eat World is poised to show another solid hand of cards with the release of Futures, the band?s first full-length since their breakthrough. Much has changed in the rock music scene since the explosion of emo, indie, screamo, melodic hardcore and the like, plus changes in the industry at large. In fact, the very label Jimmy Eat World was signed to ? DreamWorks ? dissolved into Interscope, after some corporate re-shuffling. Regardless of such changes, the foursome (vocalist/guitarist Adkins, guitarist/vocalist Tom Linton, bassist Rick Burch and drummer Zach Lind) have been right there to roll with the punches ? even charting a new direction with a new producer, after an initial attempt to put Futures, their fourth major-label effort, into gear with longtime producer Mark Trombino stalled. Adkins still speaks highly of Trombino: ?I really think he?s one of the best people out there making records,? the frontman says. The act simply wanted a fresh perspective this time around. ?We just got to the point where we were out of ideas, and we felt like rather than continue on into an unknown territory, we decided to get out of the studio, take a break, play some shows, kind of re-group [and] get to be a band again. And after we had done that, we just decided that it may be better to go to back to the studio with a new person." That new person selected for the task was veteran producer Gil Norton, whose diverse resume sports albums by The Pixies, Dashboard Confessional and The Distillers, something Adkins says he found attractive. ?We liked the idea that he?s worked on so many different kinds of records,? he says. ?There?s quite a wide spectrum of music he?s worked on. He came out to Arizona, hung out with us for a couple days and we got into it with some of the demos that we?d been working on. [We] really liked his approach and he kind of sold us that we would both agree on what we quantify as good in working out songs.? With Norton on deck, the foursome re-launched their album?s recording sessions in February, working steadily for three months and noticing the changes occurring amongst themselves, thanks in part to Norton?s direction. ?I think, like especially with Clarity and Bleed American, I sort of fell into this pattern of just like doing the least amount of flashy, excitable drum things, and really kept it very simple,? Lind recalls. ?In a way, I didn?t want to get in the way of the songs. And we started working with Gil Norton, and he was really pushing me. We were doing pre-production for the album and he was like, ?Yeah, you know, it feels kinda boring.? He was kinda challenging me, saying it?s just kinda boring, like there?s really nothing going on over there, like ?What do you got for me?? He really sort of brought out of me a sense of playing that I don?t think I had been doing in a while.? Futures also provided a change of scenery, for it was actually the first time Adkins and company had an opportunity to work on one of their albums within their home state at a friend?s house. ?We just tracked the majority of it at [a] house in the mountains of Tucson,? Adkins recalls. ?Tucson isn?t exactly our neighborhood, but it?s just nice getting out of L.A. We?ve only recorded in California and it was nice to really do something different. It was cool, it was good.? Futures? end result is a wide-reaching assortment of time-honored Jimmy Eat World textures and colors, encompassing all of the act?s previous efforts. The album?s first single, ?Pain,? sports progressions and choruses that offer a cousin-like kinship with ?Bleed American.? Darker, muscular Static Prevails-era moments unravel on songs like ?Nothingwrong.? And there?s plenty of Clarity-esque balladry (?Drugs Or Me?) and subtle dynamics (?Kill?) to keep longtime fans appeased. ?It think it?s really moody and we got really deep in creating the atmospheric layers that are behind all the hooks and stuff for every song,? Adkins says of Futures? sonic vibe. Curiously enough, a decision was made ? after promotional copies were mailed out to the press ? to excise one of the session?s finest cuts, a two-and-a-half minute, three-chord pop gem titled ?Jen,? a track somewhat similar to the act?s mega hit, ?The Middle.? ?It was just the oddball song,? Adkins says. ?I think it?s the kind of tune that will stand up stronger if it?s by itself somewhere else. It just makes the record an album, I think, by not having it in there, even though it definitely is a side of what we do.? One thing Adkins says Jimmy Eat World doesn?t do is make music for any particular group of people. ?I?ve never been into the elitist side of what some people would call punk,? he notes, ?the elitist, kind of indie vibe that you get at a lot of places in some ways. You know, in a lot of ways, your typical kid that only gets music through the radio is a lot more open-minded than some of the people that claim to be a hardcore, independent music person. It?s strange like that.? ?We?ve never censored ourselves when we?re writing,? Adkins adds. ?It?s never about making a certain kind of record. Anything that we think is cool can be a Jimmy Eat World song, which is nice and we?ve always felt it was important to just choose the songs that we make our records from on the basis of just being good songs ... It leaves doors open in the future, I mean, we can do whatever we want. I think if people have followed us along up until now, I don?t think anything we?d do would really throw people and be something they wouldn?t like. If they already like the band, then I think that what we do is pretty much what we do. And I think it?s all over the place sometimes, but it?s what keeps us interested.? Link To:;_id=57,
  14., Lind, Zach, 2021-01-19 19:40, Twitter, 2021-01-28, Basically shit got weird and contentious. We had to pull the plug on making the album because songs were not ready yet. He had a project that he had to go into and it caused scheduling issues and shit just got dark. It was time to turn the page.,
  15., Lind, Zach, 2021-01-19 19:47, Twitter, 2021-01-28, Mark is supremely talented and also a very sweet guy. We went through a rough patch but have since squashed it. He mixed INVENTED and fucking murdered it. Eternally grateful for that man. He taught us so much.,
  16., Lind, Zach, 2021-01-19 19:09 PM, Twitter, 2021-01-28, During Futures we had to deal with a falling out with Trombino and then our label Dreamworks being bought by Interscope (the one label completely uninterested in signing us before Bleed American). Hiring a totally new production team, spending a stupid amounts of money.,
  17., Jimmy Eat World – 09.22.10 - Interview". AbsolutePunk., Bautts, Jonathan, 2012-09-29, 2021-02-09,
  18., For The Record: Quick News On Mary J. Blige And G-Unit, Dixie Chicks, R. Kelly, Jimmy Eat World, Outkast & More, MTV News Staff, 2003-09-19, MTV, 2021-02-09,
  19., DreamWorks SKG, And Vivendi Universal Entertainment Jointly Extend Their Agreement for Film and Home Video to 2010, 2003-11-11, Universal Music Group,
  20., Jimmy Eat World return with new album after three years, Wilson, Kelly, 2004-10-14, Get Out Magazine - Arizona, 2021-02-09, In January, however, DreamWorks was swallowed up by Interscope, which is putting out ?Futures.? ?It?s kind of par for us,? Adkins says. ?We like putting out a record on a different label every time we do it. It keeps it fresh.?,
  21., Jimmy Eat World - 07.27.07, Henderson, Steve, 2007-08-10, AbsolutePunk, 2021-02-09, Okay, so I apologize if you guys get this question all the time, but can you talk about what soured the relationship with Mark Trombino? It seems like in a short time, he went from being like a fifth band member to almost being cut out entirely. Zach: Yeah, we can talk about that. There might have been an element of it that went towards being soured, but I think what it comes down to is that we were in the middle of making Futures for the first time. (laughs) Mark was producing the record, and I think it was really just circumstances and a bad situation. We overestimated the batch of songs we had, and figured we’d sort it out as we went along. Rick: We will throw it all up in the studio and see how it’s going to settle, see how it falls into place. When you say “overestimated”, you mean you thought the songs were better than they really were? Zach: We felt like we had an album, and at the end of the day, the breaking up point was the realization that we didn’t have an album, and that we needed to step back and cut off the recording process to move forward. In that decision-making, there was some tension. Mark had some bands coming up that he was working on, and there was only a certain time window. So here we are saying we have to stop, while he is a few months away from starting another project. So it didn’t look good, and it was very confusing. I chalk it up to circumstance, and in that tension, things rubbed a little bit, and there was some tensions on both sides. But at the end of the day, I still communicate with Mark, and he’s a really talented person but I think it got to the point where we had worked together so much where there was an element of getting almost too comfortable with a person. Just the fact that we thought everything would fall into place drove that home. And that’s not Mark’s fault, or even ours. It’s just kind of the way things happen when you are working with someone over and over again. It was really good for us to go back and make Futures again. After we left the studio with Trombino, we came up with “Polaris,” “Work,” “Pain,” “23” – the songs that really gave Futures its heartbeat, you know? Those songs came after that.,
  22., Can Cred And Success Co-Exist? An Interview with Jimmy Eat World, Dierksen, Dave, 2004-11-30, PopMatters, 2021-02-09, In the spirit of keeping each subsequent record sounding fresh, the band opted to use producer Gil Norton, who has worked with the Foo Fighters and the Pixies, instead of longtime friend and producer Mark Trombino. "For the last ten years, we've been working with Mark," says Linton. "He's done all of our records previous to Futures. And we just wanted to try something different as far as bringing in someone different, ideas for song arrangements, different guitar sounds, and stuff like that. That was pretty much it. We don't have anything against Mark. He's one of the best out there. We just wanted to try something new." Still, the return to a more diverse sound serves as a reminder to the old school Jimmy fans that the band hasn't forgotten where it came from.,
  23., Jim Adkins of Jimmy Eat World Digs into 4 Songs from Futures, Escudero, Nicki, 2014-10-29, Phoenix New Times, 2021-02-11,
  24., 10/30: Interview: Jimmy Eat World go back to 'Futures', Masley, Ed, 2015-06-04, AZ Central, 2012-02-09, Q: What do you recall of the making of that record? You were coming off of "Bleed American." A: It was pretty intense. I think working with Gil Norton was a big change for us. Everybody has a slightly different take on what they like to hear and how they like to get there. And Gil was really into the details of things and made us focus on the transitional parts for getting into and out of different sections of songs – a level of detail that we hadn't considered before. When there were sections of the song that kind of bumped into each other, we worked on how can one kind of lead into the other to make both sections more effective. I'm sure you can go through and read interviews with Foo Fighters about working with Gil and the level of detail that he gets into. You could see him getting completely engrossed in the material. He was just so invested in it and he's not even in the group. So that sort of forces you to step up and take a closer look at everything too. Q: What led you to work with him? A: The records he's worked on. For a lot of producers, that kind of gets you in the door, what projects you've worked on. And just meeting with him. He came out to our studio in Tempe and we showed him some demos we were working on. And we right away got into it, got dirty, started working. You can conceptualize all day about what it might be like getting into the studio with somebody in a creative working environment but until you actually just do it, you don't really know. So I think getting in there and actually doing stuff with him actually sold us on working with him.,
  25., Punktastic 10.13.04 Jimmy Eat World, Sami, 2004-10-13, 2021-02-09, TOM: It was all pretty much written before we went to the studio. We all went out to Arizona to meet Gil Norton the producer and we did pre production for about a month, making sure that before we went into the studio (?because it?s really expensive?) that we had everything down.,
  26., Absolute 10.06.04 Jimmy Eat World, Weber, Scott, 2004-10-06, 2021-02-11,
  27. 27.0 27.1 Futures (booklet) 0602498642405, Jimmy Eat World, 2004, Interscope Records,
  28., Studio update, Jimmy Eat World, 2004-05-29,, 2021-02-11,

External Links