A Quote by Alasdair MacLean
We're in a situation now where we've got five long-play records of sort of eerie psychedelic pop music. I don't think that we can make another one. That's really my position on it. If we were to do a film soundtrack or something else where I could take the rest of the band with me. I really don't think bands should make more than five records anyway. In fact, five is one too many. We'll have to see how it pans out.
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I'm just thinking all the time. There are times when I don't really need to think. You know what I mean? If you think about stuff for five hours, you really only need to do like five minutes and the rest of sort of rehashing it and dramatically going over it.
I now possess the tools as a producer and a songwriter to really just go out and make smashes all day long. I could make an album full of smash records that got pop appeal. But my heart is in hip-hop. My heart is in telling stories. And it's like therapy for me.
We went through the records and we found over five hundred of his patients who were alive and well five years after their treatment, with no cancer. And Dr. Burton didn't selectively give us these. These were "take what you want. Here are the patients I treated." So there was statistical improvement - more so than any cancer institution in the United States could show.
It's like every time you have one of these, you're sort of - your lease is renewed another five years. And that's kind of great for me 'cause that's all I really want to be doing still at this point, like just making records and getting to work with, like, artists that I think are exciting.
I think something for us that we're always interested in is how people interpret the music or the band for themselves, and that sort of level of interactivity for us specifically is really awesome, but I can imagine for some bands the ability to make your sound and make your identity known could be challenging.
It was part of a financial situation. I could only afford records in thrift stores. Then you could find wonderful things, but now everything is a collectible. I like the recycling idea --using the stuff that people don't want anymore, and make new music out of it. There was an element of looking back and listening to your parents' records and doing something with that stuff. Sort of acknowledging the past while rejecting it at the same time.
All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.
That's why basketball was so good, because I didn't really need you or anyone else to play it. It would be better if we played four-on-four or five-on-five, but I could go out there alone.
I think the big thing for Simple Plan is that we were able to keep the band members, the same five guys, the same lineup from the start. That's not easy. We grew up together. We're friends. We come from the same world. We've always had the same dreams and goals. I think we realized, as the years go by, how precious it is to have that, to build that, to see so many bands break up... it makes us realize how different we are to all that. We're really proud of that.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
Like a lot of the newer bands, like the more poppy kinda bands, although they make really good records and they produce them really great and everything, they don't really deliver onstage. And I think that's where like the heavier bands kinda score.
I'm doing super quality control. I'll have five tunes that I think are all good - before I would've put out all five tunes but now I'm just putting out that one out of the five that I think is the banger.
Nashville has always felt perfect. I don't think Third Man Records could exist in any other town that I know of in America. Anything smaller or larger than the size of Nashville, and also the music - the attention that's paid to music in that town is sort of the right kind. It's not too hipster and it's not too fake; it's something in the middle, which is really good ground for a place like Third Man Records, that aims to be genre-less. It's great to be able to have that kind of access.
Anyway, members of the Inquisitorial Squad do have the power to dock points so, Granger, I'll have five from you for being rude about our new Headmistress. Macmillan, five for contradicting me. Five because I don't like you, Potter. Weasley, your shirt's untucked, so I'll have another five for that. Oh yeah, I forgot, you're a Mudblood, Granger, so ten off for that.
I take it that's where you met Todd.' 'Yep. Almost five years ago. Can you believe it?' 'Five years! You and Todd should be the poster couple for the 'Love Waits' campaign.' Christy laughed. 'It didn't seem that long. A lot has happened during those five years. But I do agree that true love is worth the wait. I'd wait another five years for Todd if I had to. He's the only man for me. Ever.
You've got to be the anchor of the defense at that five position. Call out pick-and-rolls, screens. The five is usually around the rim, so you see everything.
