A Quote by Ace Frehley
I think the fans really wanna hear the songs the way they sound on the record.
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Main thing, really, is I write songs the way I wanna hear them and the way I think the people that come to our shows wanna hear them.
A lot of the hardcore fans wanna hear the deep cuts - songs like 'Orion' or maybe like a 'Disposable Heroes' - you know, songs that we don't play all the time - and then, of course, they wanna hear 'Sandman' and 'Nothing Else Matters' and some of the hits.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
Too many times you come across lyrics that sound like you've heard them before or you can't really relate to them. And I think that I write songs that sound fresh and sensual in kind of a layered, lush way. But I also think that they are real, and that's why I wanted to call the record 'Inside Out.'
I just think that there is something that keeps us together, to keep doing what we're doing. I can't really put my finger on it other than each record is like a little snapshot of my life at that particular moment, the way I play, the way I sound, the way I wrote, the way I sing, I can hear it.
I didn't think anyone was going to buy 'Do You Really Wanna Hurt Me?' It was really personal, not a hit record, I thought. I wanted us to sound completely different. Shows how much I knew.
I think 12 songs is too much to listen to all at once. When I buy a record, I get to the fifth song, and then I don't get to really hear the rest of the record.
I think I write very good songs. But I don't know if anybody could record my songs with as much fervor. They sound good sung by me, and they especially sound good with my band.
I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.
I don't worry about alienating fans. I don't think most people these days think of artists as sellouts if they license their music for a commercial or a movie trailer. If anything, fans get psyched when they hear Sleigh Bells on TV or at the movies. As a band who doesn't make money off of record sales it's a great way for us to pay the bills!
I always talk about the reporters that grovel when they wanna write something that you wanna hear but not necessarily millions of people wanna hear or have to hear.
Yeah, with 'NASARATI,' that was my first project. I really worked literally three days on it, writing on the beats and putting it together. I'm not saying that I don't love the mixtape, but it was really my first, first move in rap. I tried to make sure everything sound different, so you hear no two songs and think they sound alike.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
When people come to a concert, they wanna hear the hits, the big radio songs, and they wanna hear them how they're used to hearing them. I like playing them how they were recorded.
I really wanted to get that dynamic on the record onto people and let them know it wasn't just a simple strumming along the guitar type of thing without ramming it down their throats so I kind of went the opposite way and sang some of the songs more quietly which allowed for the louder parts to sound as though there were more. It was the only way singing those songs made sense to me.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
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