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The Thorns was a reverse side project of sorts for its principals, <a href="spotify:artist:2idymNTKUdnTxforkb12Mw">Matthew Sweet</a>, <a href="spotify:artist:1wxBizLxYol7aVhHX2TD7l">Pete Droge</a>, and <a href="spotify:artist:4TROLx8HvrnfGGNo2ngL2N">Shawn Mullins</a>. All three singer/songwriters had made their names as solo artists, so to suddenly become a band took a bit of work. Even so, the musicians' batch of shared influences -- <a href="spotify:artist:3oDbviiivRWhXwIE8hxkVV">Beach Boys</a>, <a href="spotify:artist:5hW4L92KnC6dX9t7tYM4Ve">Joni Mitchell</a>, <a href="spotify:artist:1KA3WXYMPLxomNuoE22LYd">Gram Parsons</a>, <a href="spotify:artist:70cRZdQywnSFp9pnc2WTCE">Simon & Garfunkel</a> -- suggested that the union might work, even if they hadn't worked together before. Summer 2002 found the trio writing up material; by autumn they'd gelled, and started laying it down in an Atlanta studio with longtime producing pal <a href="spotify:artist:0BG5aq4J5LuJV8kQcGJ336">Brendan O'Brien</a>. Sweet (no pun intended) harmonies and an array of guitars were out front, while veteran drummer <a href="spotify:artist:3aztJCXxqYQyBPRbjPmXq2">Jim Keltner</a> held down the rhythm. The self-titled LP appeared from Sony in May 2003, and was immediately heralded as a return to the sunny, harmonious sound of groups like <a href="spotify:artist:2pdvghEHZJtgSXZ7cvNLou">CSN</a> and even <a href="spotify:artist:08GQAI4eElDnROBrJRGE0X">Fleetwood Mac</a>. A promotional acoustic tour followed, as did dates with <a href="spotify:artist:2UDplVRprMbazU74Hq8OLl">the Jayhawks</a>. A club tour of their own led into late autumn, when the Thorns hooked up with junior-league jangler <a href="spotify:artist:0hEurMDQu99nJRq8pTxO14">John Mayer</a> for a few dates of his arena tour. ~ Johnny Loftus, Rovi
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