A Quote by Craig Finn
Some people will totally get restless, since you can make demos pretty easy. It's not unreasonable for someone to say, "All right, can you just record this and go home and work on it?"
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I don't make demos. I don't have the interest or the energy or the time. Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.
People think it is such an easy life, and you just go get ready, and someone does your hair and make up, and all you have to do is say a few dialogues. But there is lot more behind it. You are getting into a particular frame of mind to get into a scene; you have to get your emotion right.
I didn't worry about my career ending, but there were days where I felt pretty beat up by it all and just pretty tired, because they didn't make it easy for me. And coming right off the last lawsuit, it was the last thing I wanted to get involved in. When it was over, we didn't really celebrate, we were just exhausted. I lost all interest in the record business and never wanted to do anything except hand in a record again.
What has happened is that to some degree they have taken an attitude where they don't listen to demos of diverse subject matters. They're looking for demos like the record the guy on the left just did.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
When people get in your face and say, 'This will pass,' you think, Are they crazy? I'm never gonna feel any better than I feel right this minute and nothing's ever gonna make sense again... You see a lot of people play this blame game. Blame, blame, blame. You know? And it's a really easy thing to do, and I'm certainly guilty of it. [You have to] look at yourself and go, 'What part of this do I need to own? Which part of this is my responsibility?' And that's the painful work that you have to go through to hopefully get some real life knowledge out of it.
I've been making demos at home for many albums now. So over those years, I've learned how to record music, and I love being at home. I excel when I can make things at home.
I know a lot of bands that will make their first record and get to a certain level, and then when the second record comes out, they can start where they left off as a headlining act playing in front of a certain number of people, or they can go back out and make a lot less money and open for people. I feel like if you go out and just go right back into that headlining stuff, you're playing to the converted.
Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.
It's a pretty great thing to have a record that at the end of the day you're not totally sick of and you're actually proud of. We're pretty lucky, because a lot of bands come out with their first record on a label and they're forced to make decisions they might not stand behind because someone's telling them it's a good idea. We didn't have to do that. I think that's one of the things I'm most thankful for.
Say you're working for a big overseas aid organization. You can't leave home in a Mercedes Benz, travel 80 kilometers to work in a great concrete structure where there are diesel engines thundering in the basement just to keep it cool enough for you to work in, and plan mud huts for Africa! You can't get the mud huts right if you haven't got things right where you are. You've got to get things right, working for you, and then go and say what that is.
I had demos that I'd send out of the songs and I'd get, "Great, can't wait to get in a room and actually play this and work on the album." So, it was good all-around because they knew even though I wasn't with them for some of the shows, I was being productive, which was really important because I didn't want to just sit on my ass. Once I was able to use my hand again, I would go right into it.
You sometimes get the feeling that people think getting back together after a hiatus to write and record a record is work, you know, arduous and unpleasant. Being able to write and record - that's a privilege. I don't forget the long days I spent working in a restaurant, when I wanted to be done so I could go home and work on a song.
If you get operated, something can go wrong and you can just say bye-bye to tennis. That's what happened to a lot of soccer players in Europe. They get operated, some things, it's not the mistake of the doctor. It's just some surgeries, they just don't go the right way...My injury will never go away. It's already become so chronic there's no chance to fix it so I can play without pain.
I have a tape recorder, and I just sing into it. I like to write that way. Sometimes I'll just get melodic ideas, and then I'll go home and sit down and add the lyrics. Or sometimes I'll get a lyric idea that I love. Usually it's pretty combined. Usually I get some kind of a lyrical concept and a melody and work with that.
I'm totally sick of hotels. I'm totally sick of room service. I'm totally sick of how can I help you ma'am? I just want to go home and wash some dishes, play with my cat, watch some TV.
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