I see someone play, or I listen to a record, and I think, "How did they make that sound?' It's not emulation; it's more building a vocabulary that can be called up at a moment's notice.
Records can ruin you. That's why it's important to be as intimately familiar as possible with the history of recorded music, I guess. In a way, it's an argument for record collecting.
I realize I have made a lot of mistakes and done things wrong. I've done things I wish I could have done in another way. I didn't come in with the same kind of desperation that I may have had on the first or second record. I didn't come in thinking, 'Oh God, please. I hope this does well because I have nothing else and I worked so hard at this.'
You can't really come into a concept record objectively, because you immediately associate it with Yes, stuff from the 1970s that punk rock kicked against, the pretentiousness.
That's almost the best part, making the record cover.
I just went to Europe, spent a year traveling, and then I came home with a finished album and said, "Hey everyone I'm back!" I gave everyone their lighters from Luxembourg, gave them the postcards from Italy and Rome, then said, "Hey look, I made a record, too" and played it for them. The general reaction was shock, because it was so different from what they've known me to do.
Records don't have to be perfect.
I write about my life and the lives of people around me and situations, and the idea's for each record to try to make you a better person, to understand the life that you lead more.
I can still sing most Eagles songs, even though I never bought a record and never liked the band.
I wanted to make an album that I wanted to put on myself and could listen to again and again. In the past I've done these records that are very in-depth. I love them and I'm very proud of them but I've always found it hard to listen to them again and again...they're very demanding.
I'm really excited about the remixes. I've always been a fan of electronic music and I'm thinking about that very seriously for the next record as well.
Most of the people who are given these Rock'n'roll Hall of Fame things sell millions of records, so it's kind of like a trophy for them.
I was going through a period where I was just trying not to write songs and was thinking maybe I wouldn't play in a band and make records anymore.
How many records you sell really does not matter. It's whatever you give.
I finally realized that so much of the music world is about how much money you've got, how much you can pay to make your record successful.
It was a chance meeting with a lady at Mariah Carey's record company who was here in our office, actually. And I pulled her in here to this very office that we're sitting in now, and I played her the clip of me and George Michael singing. And I was like, it's joyful. And that's what people want.
When you make a record, you probably are not going to hit exactly what you were aiming for. You also have to let go at a certain point, and just trust it.
When I was writing some of songs for the record in Galapagos it was the feeling of being there I wanted to evoke more than anything. I remember hearing all the parts of the songs in my mind when I was walking around over the lava fields.
In the process of making the record, I was just so bored all the time working whatever stupid job. I felt like a stagnant pond that has algae and mildew and weird animal cells, and I felt like if I sat around not doing anything long enough, that I'd probably end up going a little bit crazy.
When you start you're trying to achieve staying alive and getting home. If you can do both of those, then you stand a chance of breaking the record.
I always listen to records that I've been a part of with a grain of salt.
For the most part I stand by all of records. I just always like the one I've done most recently the best and I think that's the whole point.
When you listen to most of the records that really had an impact on you, they always seem to be from a different era.
I think there's a curiosity that can make you feel anxious as to what the world's going to make of what you're doing. It's not necessarily what you're going to get back in terms of record reviews or how people talk about your record, it's getting on the road and playing the new songs live.
I still have a lot of faith that there's very few people who are savvy enough to actually produce a good sounding copy of the record.
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