Question: What producer did Some Nights desire to work with?
About the article "Some Nights", section "Background".

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Kiss took a different approach in creating their album Crazy Nights, in efforts to turn around their image after they had a down fall in their music career due to experimentation of the band's music genre and the loss of two prime members.
The band had a lot to prove after their decrease of success, leading to the decision to change their trademark appearance from the removal of their signature make-up to their rock inspired style.
A few shows performed in Brazil would be the last time KISS performed in their signature make-up until The KISS Reunion Tour in 1996.
After the "Asylum Tour" had ended, Kiss went on couple of month long hiatus due to Gene Simmons' career as an actor and a producer which made the band seem like his side job instead of primary job.
For "KISStory", Paul Stanley stated that he got tired of Simmons' lack of commitment and one day he told him:We were in the parking lot one day, and I said to Gene:"Look – you're off doing all these other things while still reaping the benefits of this band, and I'm getting screwed.
It's not fair for me to put in this kind of time, while somebody else who is supposed to be my partner, is not."
And Gene looked at me and said:"That's fair."
I could have used Gene's input.
But my attitude at that point was that I certainly wasn't going to listen to a guy who's off managing cabaret singers, and producing five bands, while I was trying to make an album.
Simmons' temporary departure gave space to Eric Carr and Bruce Kulick.
Kulick had four co-writing credits and Carr one, but almost got other material on the album.
Stanley had worked with Desmond Child, Diane Warren and Adam Mitchell and co-wrote songs: "Crazy Crazy Nights", "I'll Fight Hell to Hold You" and "When Your Walls Come Down" with Mitchell ("I'll Fight Hell to Hold You" and "When Your Walls Come Down" with Kulick), "Bang Bang You", "My Way" and "Reason to Live" with Child ("My Way" with Bruce Turgon also), and "Turn On the Night" was co-written by Stanley and Warren.
As Kiss' previous two albums had been self-produced, the band felt it needed to bring in an outside producer who would help the album achieve more commercial success.
Producer Ron Nevison was hired to produced the album, but because of Nevison's filled schedule, the band had to wait for his schedule to clear.
Nevison was chosen in part from his recent commercial success in producing platinum albums for Heart and Ozzy Osbourne.
Simmons said for "KISStory", "When we started working on "Crazy Nights", we looked for someone else to pull the cart – another person to help guide the band...
So we hooked up with a producer named Ron Nevison, who Paul had wanted to work with for a while, although I never did.
In the ""Crazy Nights, it's 25 years strong"" KissFAQ interview Ron Nevison describes the efforts band members put in to the album, “Well, this was the only album I did with them.
I do know that Gene wasn’t there all the time.
Obviously Bruce was, and to some extent, Eric.
Mostly, a majority of the work on that album I did with Bruce and Paul.
The bass tracks were cut initially, and Gene was only needed for lead vocals.
I must say that most of the time he was there, he was in the back of the studio reading “Variety.” Although Simmons' participation was low for the album he did contribute in providing Nevison with 20-25 songs that were potential material for the Crazy Nights album.
Including one song called "I'm Going to Put A Log In Your Fire Place" which was ultimately not used on this or any subsequent albums.
The albums Crazy Nights and Asylum were also under new management representation with Larry Mazur, a consultant.
The album was at first called "Who Dares Wins", which was Carr's idea.
According to him, "During a photo session our wardrobe girl had this commando patch lying around with 'Who Dares Wins' on it, and I said: "Hey, what a great idea for an album title!"
Then she brought it over to Paul who said the same thing.
We ended up not using it because it didn't look good in print, and it sounded as if no one would understand it."
The idea was dropped in June, but managed to appear on some Japanese advertisements for the upcoming album.
Another title the band thought of was "Condomnation", but as Stanley said, "Well, Condomnation was never really the title.
It was just a thought that passed through our minds and gave everyone a chuckle."
The record sessions started in March at One on One Recording Studios in Canoga Park, California but later continued in Rumbo Recorders also in Canoga Park and Can-Am Recorders in Tarzana, California.
In June the album was completed and it was mixed at Can-Am Recorders by Nevison, before being turned over to PolyGram in July. 
“One Hundred and One Nights” () is a book of the Arab literature formed by a set of twenty stories, which presents many similarities with the more famous "“One Thousand and One Nights”".
The origin of the work is a mystery.
Although some suggest the possibility that the stories have their origin in Persia or India, they come from Maghreb (Northwestern Africa), which in turn, according other authors, were originated in al-Andalus ( Islamic Iberia).
The book emerged in the West in 1911, when the French arabist Maurice Gaudefroy-Demombynes published his French translation of four maghrebi manuscripts.
In 2010, the orientalist Claudia Ott discovered the oldest known manuscript, dated from 1234 or 1235, which includes only the first 85 nights.
The translation of that manuscript to German was published in 2012.
The themes and narrative structure are very similar to those of the "“One Thousand and One Nights”" — having as scenario the immense Muslim world, the stories talk us about intrepid travellers, epic and romantic adventures and are filled with enigmas, desire e wonders, that enchants the reader.
Besides the other similarities with the "“One Thousand and One Nights”", "“One Hundred and One Nights”" have the same heroine — Scheherazade — but i is though to be older.
With the exception of the tales of "“The Ebony Horse”" and of the "“Seven Viziers”", also present in "“One Thousand and One Nights”", the stories are different in both works.
However, the spirit of both is the same and the scholars consider that the reading of each one of them complements the other and allows the appreciation of the middle Arabian literature in a more complete manner.
According to Claudia Ott, while "“One Thousand and One Nights”" talks about the Eastern Arab world, "“One Hundred and One Nights”" takes place in the Western part of the Arab world. 
Desire is the third youngest of the Endless and the twin of Despair.
It is a strikingly beautiful figure whose gender is mutable, becoming male, female, both, or neither as the situation warrants.
It is often referred to as "sibling" by its brethren, particularly Dream.
Desire blends in effortlessly with whatever environment it finds itself in.
It lives in the heart of a massive flesh-and-blood statue of itself, known as the Threshold.
Indeed, further strengthening the connection to hearts, Desire's sigil in the galleries of the other Endless is a heart of cut glass.
Desire is described as being of medium height, smelling faintly of summer peaches.
Desire casts two shadows, one black and sharp, the other translucent and wavering.
Desire's smiles are brief and sharp.
Its skin is "pale as smoke," and its eyes are "tawny and sharp as yellow wine.
"Desire is easily the cruelest of the Endless.
It seems obsessed with interfering with the affairs of its elder siblings, particularly Dream.
The motivation behind this is not clear, but seems to be simply a variation on childish teasing.
Desire is not exactly unaware of the consequences of its actions, but considers those consequences ultimately unimportant, a position which angers Morpheus and Death in particular.
Desire sometimes acts in concert with Despair and Delirium; the relationship is not clear, however, and Desire is much more distant from its siblings than Despair or Delirium.
A more forgiving interpretation is that Desire reflects, simply, desire, and is as fickle and self-centered as the emotion.
As desire is easily the most inflaming of emotions, Desire takes special delight in needling those who think they are beyond emotions altogether.
It is, besides Death (who, even then, must be goaded), the only one of the Endless that will point out the faults of Dream, some of which, such as the condemnation of Nada, are legitimate.
Even Destruction noted that while Desire can be malicious, it is often right.
A story in "Endless Nights", set long before any other "Sandman" story, explains the origins of the Desire/Dream enmity, and reveals that before this Desire was Dream's favorite sibling.
Dream had fallen in love with a mortal, Killalla of the Glow, and had taken her to a gathering of stars (literally the embodiments of various suns).
While there, Killalla met and fell in love with the star of her own home world, abandoning Dream.
Desire's role in this is never made clear (except that love is obviously a form of desire).
After introducing his lover to Desire when they first arrive, and leaving the two alone, Killalla asked what Desire had done for Dream to make him so affectionate, but Desire indicated that it hadn't done anything at all.
Later, however, when Dream angrily blames Desire for the whole affair, Desire offers no defense, only asking Destruction after Morpheus storms off, "Doesn't he have a sense of humor?"
This story, set billions of years before the story-arc of The Sandman, tends to portray the characters in a very different light, showing that even the Endless are not unchanging, with Desire's attitude towards Dream being playful rather than malicious during this early encounter.
The enmity between Dream and Desire continued through the millennia, eventually culminating in Desire raping and fathering a child on Unity Kinkaid, then attempting to have Dream kill Rose Walker, Unity's grandchild, which would have caused the ruthless and relentless Furies to hound Dream until he died for the crime of shedding family blood.
When Dream discovered this at the end of "The Doll's House", he openly threatened Desire with what would happen should Desire interfere in Dream's life again, and there was an uneasy truce between the two afterwards. 
Dominique's discovery of Alain Bashung's dark 2002 album, "L'Imprudence" shocked him to the point that it put his music into question and he decided to explore differents ways of working.
He decided to compile what he considered to be the first part of a musical time capsule, a longbox entitled "Le Détour".
He asked his fans to write about their relationship with his music, and some of their letters were published in the booklet accompanying Le Détour.
For his subsequent album, he wanted to experiment and consequently, for the first time, he gave control over the album to a third party, the team who produced L'Imprudence.
The end result would be "Tout sera comme avant" (Everything will be like it was before), which was released in 2004.
Unfortunately, many fans had difficulty understanding and accepting the musical change the album represents.
At the same time, Dominique did a lot of live shows, with diverse arrangements: with a big band, with minimalistic backing, or all alone (where he would experiment with oversampling).
In March 2006, "L'Horizon" came out, a new work that he produced alongside Dominique Brusson, with whom he had made the early album, "Remué".
It was the first time that Dominique A returned to work with a producer.
He was backed by his old collaborators, Sacha Toorop and Olivier Mellano, as well as the musicians with whom he produced Tout sera comme avant.
Dominique A had recently quit his record label, Labels, due to his desire for more creative freedom; consequently, it is no surprise that he describes "L'Horizon" as his most experimental work to date. 
The "In Concert" DVD did, however, feature some new material the band was working on for their third album, although the songs were destined to change a little before they were recorded in the sessions for what was to become the band's breakthrough album.
"Delicate Flame Of Desire", the band’s third album, was recorded with producer Steve Evans and mixed by Joe Gibb.
The album brought the band’s music to a much wider audience with Radio 2 airplay and widespread media coverage.
This album was the only Karnataka studio album to feature new member, Anne-Marie Helder, on flute and backing vocals.
She had previously appeared on the band's "In Concert" DVD as one of three guest backing vocalists.
An in-depth interview with Ian Jones, Jonathan Edwards and Rachel Jones was conducted by Jon Hinchliffe in 2002, shortly before the release of 'Delicate Flame of Desire'.
In the interview, all three talk extensively about the origins of the band, the writing process and the dynamics of how the band operates.
The interview can be found at http://www.jon.hinchliffe.name/karnint.htm