A Quote by Norah Jones
There was an enormous amount of pressure when my first album took off, and I struggled with the speed of everything and the exhaustion from the constant touring.
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At the moment we're trying to keep what we've learnt. Because we learnt a terrific amount with 'Deep Purple In Rock,' it took six months to make that album: we think it paid off, really. I can honestly say that it's the first album we've been 100 percent satisfied with; it gave us a hell of a lot of confidence.
The odd thing is, I don't consider what I do work, because it's what I love. But it is also an enormous amount of pressure, and you have to work an enormous amount of hours.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
When we came off the tour for the last album, we started on this one. We've just been chipping away at it. We're not in that much of a hurry, because when we release a Blur album, that's a three year promotion and touring cycle.
Obviously yeah, but our first album took us five years to put together, to get signed and to put it out, we had a lot of time to think about what we were doing. Black Sunday was like a whirl wind, we had to rush back to the studio after touring, but the last album we had a little longer, what like eight months?
I took a lot time to do the first album, and I was really happy about that album. I co-wrote the songs and it was a learning process. When I was working on that album I realized, for the first time, that I could write my own songs.
It was the 'Gaucho' album that finished us off. We had pursued an idea beyond the point where it was practical. That album took about two years, and we were working on it all of that time - all these endless tracking sessions involving different musicians. It took forever, and it was a very painful process.
I find when I'm perceived as male in society, there is an enormous amount of pressure, but it comes with respect, so it's a balance.
The album for Fiddler really took off. I think it was a combination of John Williams and the score. It was a very classy big album.
First of all you need to have speed. If you only have experience and don't have the speed, then you are never going to get the speed. This is the main point. So you are better off getting someone quick and you develop him with experience.
Especially for my first album, I struggled with even the thought of being a solo artist.
Speed is the form of ecstasy the technical revolution has bestowed on man. As opposed to a motorcyclist, the runner is always present in his body, forever required to think about his blisters, his exhaustion; when he runs he feels his weight, his age, more conscious than ever of himself and of his time of life. This all changes when man delegates the faculty of speed to a machine: from then on, his own body is outside the process, and he gives over to a speed that is noncorporeal, nonmaterial, pure speed, speed itself, ecstasy speed.
The touring for this album was definitely going to be the most intense touring we've done.
The best part of a MacArthur is having some pressure taken off from touring relentlessly.
When you lose velocity off of your fastball, one thing that suffers is your off-speed pitches - the action on your off-speed pitches. Once you lose arm speed, it takes away rotation from your off-speed pitches. The rotation is what gives them the sharpness and the nastiness.
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