A Quote by Chrissie Hynde
In this business, things go in waves, and I might make a record every three years. That's enough for me; that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one.
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Things go in waves, and I might make a record every three years. That's enough for me, that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one. There's other stuff out there for them to listen to.
I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.
If you'd have asked me two years ago, I'd have been like "No, anything and everything. Go for it." Now, I want to focus on doing the best I can each time. But I think it's hard for me to only put out one record a year. Because I get too antsy. But it's good I'm learning to do that, because each record counts. And you should make it count.
No, if it was up to me every record would be brand new studio material but Atlantic records asked me to put out a full live record because my tour really did do well last year.
The mindset of chasing that next #1 record doesn't exist for me anymore. It's more about being a well-rounded entertainer than being a pop artist. Obviously, it would be wonderful to have a hit record but I don't base my happiness on that anymore. It's about the accomplishment of a project that satisfies me. I just want to enjoy the ride.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.
Every successful business creates or provides something of value that other people want or need at a price they're willing to pay, in a way that satisfies the purchaser's needs and expectations and provides the business sufficient revenue to make it worthwhile for the owners to continue operation.
Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.
Yeah, I was in the phase for the last ten years or so where every record I made I said OK, that's the last one, I don't want to record anymore, I don't want to do this any more, I don't want to have a public life.
Every person at a record company didn't want to be bothered with me because I was too smart. They knew if I recorded, they were going to have to pay me. They knew I wasn't going to be the artist that would just go in and record. I wanted to know about my royalties.
The live thing is separate from the record for me. I have to figure out a way to make the songs work live. It's always going to be different than it is on a record, because every record I've made, there are people playing parts on there that are not going to be coming on tour with me. As much as still feeling connected to it, it's more like rediscovering.
There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.
I'm 34 now, I like to say 35 because it makes me look better for my age, and I have to keep a little bit of a profile so that every three years if I do put a record out, I don't have to substantiate where I've been for three years and why the silence and the sort of false mysterioso.
I've toured the U.S. every single year and I've put a record out every single year whether it was on a major label or not; that doesn't make any difference to me.
'Supermodel' was a hard record for me; it was an emotional record to write. I was purging a lot of stuff with that album, and I think the one thing I didn't really consider, that I'd be supporting it for two years and living in that state of mind every night.
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