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Work slowly, lifting the plastic a little at a time until it pops loose. Remove the wick and the plastic piece from the neck of the oil receptacle.
Replace the plastic cap and the wick on the oil receptacle. Hold the oil receptacle with the wick pointing up and screw it into the flower part of the Wallflower.
Try lavender and other floral scents, vanilla, cinnamon or other spices. If you don't have a small funnel, you can use a large syringe to fill the oil reservoir.
Wash away any oil that comes into contact with skin with soap and water. When the Wallflower is plugged into an electrical outlet, the oil warms and the scent is released through the flower-like top of this air freshener.
Constantly replacing the Wallflower with the refills designed to fit it can be expensive. A more economical alternative is to make your own scented oil to refill the reservoir.
I wanted more,” Dylan tells Rolling Stone, looking back on the tumultuous months and years leading up to the Wallflowers breakout smash of a second album, 1996’s Bringing Down the Horse. With hit singles in “One Headlight,” “6th Avenue Heartbreak” and “Three Arenas,” the Grammy-winning LP would go on to sell more than 4 million copies and make Dylan an overnight star in his own right.
Even now, with the album being reissued for the first time on two-disc vinyl on May 13th in honor of its 20th anniversary, Dylan is unsure exactly how or why Bringing Down the Horse struck such a chord with listeners. The musician, 46, admits feeling at the time he’d made a great record, but says the T Bone Burnett-produced LP’s success was as much a product of good timing and record-label support as quality songs.
The pieces were just in place,” Dylan says during a candid chat with RS, in which he reflected on Bringing Down the Horse, explained how he feels the music industry has changed since his band’s career-defining album and revealed plans for his forthcoming covers album of duets with the likes of Neil Young and Beck. I’m thinking you don’t often reflect on an album you recorded two decades ago.
The Wallflowers were dropped by Virgin Records after your self-titled 1992 debut album was a commercial disappointment. I don’t know, though, if I felt after our first record that was the way I wanted the band to keep going.
I didn’t think everybody in the group was on the same page and was as focused as others. I’m sure even you couldn’t have predicted the massive success that followed with Bringing Down the Horse, released after you signed to Interscope.
You didn’t have constraints like “You have one month to make a record.” You just made records and worked on them until they were done. However long that might take and however much that might cost if the record company is interested, you just kept going until it was finished.
I thought we made a great record, so I wasn’t surprised it was successful. Great records, though, are made every day, but they don’t get to see the light of day because the proper machinery around it isn’t there to elevate it and get it to people’s ears.
T Bone Burnett decided to produce the album after his wife handed him one of the Wallflowers’ demos. He’s an infinitely talented person, there’s no doubt, but I don’t know it was the same controlling-mastermind situation that people would suggest.
I had “6th Avenue Heartache” around for the first record in ’92, and we just didn’t get the right take of it that I liked at the time. That wasn’t a song he wanted to record at the time.
I take it, then, that you had no sense either of those songs would play on mainstream rock radio? I don’t think I had any sense or idea what radio did or didn’t play.
I don’t think we started making that record wondering about those things. I think the records evolve and then people start discussing what you have on your hands.
I don’t think bands should worry about that kind of stuff. If you end up with something that some people at a record company think they can work with, then that becomes their job.
They could sell a blank CD if they wanted to and people would get excited. By the time the album was finished, the record company was excited about “6th Avenue Heartache.” After “6th Avenue Heartache” had done well I think they were surprised they had a record they could keep working with.
There was instantly a visible change going from clubs to larger venues because the songs allow you to do that. Growing up with your father, I’m sure you were no stranger to the world of celebrity, but I get the sense you didn’t necessarily feel comfortable with the attention that was thrust upon you around that time.
I mean, look: For obvious and instinctual reasons, I wanted to be in a band. I didn’t think it was the right idea for me to go out there with my own name and try to sell a rock & roll record in the way that Sting does or something.
And that part of it was good for me: For a record to break that much and to be in an outfit with other guys was helpful. But it didn’t really change the fact that those songs and those records were hoisted on my back.
Did you feel there was pressure on the Wallflowers to deliver another commercial smash with the third album, 2000s (Breach) ? I don’t think I knew how we did it the first time with Bringing Down the Horse.
If anything, rather than chasing any kind of continued commercial success or concern going into a follow-up record, my bigger concern now was I understood that if you write these songs, and they connect with people, these songs will be attached to you for a very long time. So be sure you like these songs you’re putting down on tape because you may be up there singing them for a long time.
On that point, do you still enjoy performing material from Bringing Down the Horse ? Every band goes through stretches where you somehow resent your success, and you don’t want to lean on those things too much.
But there are other things to be happy about today that didn’t exist then. Bands do very well today: They fill lots of seats without having any hit songs.