A Quote by Beyonce Knowles
When I hear a great new record, especially when it's by someone that I respect and admire, then a part of me is like, Why didn't I think of that? Why didn't I write that record? It makes you sick, but in a way it can be a great thing. It makes you want to go back to the lab and start writing again. Maybe it will inspire you to try a little harder.
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It makes sense that that's part of the story and everything, but that's part of any story of any record - where was it record and how long and what were the people doing. I think people want to know where these events are made. That's why I like the word "record."
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way. That is what is fun for me.
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.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.
Salinger is such a terrific writer; he did so many great things. He is one of those writers that I still reread, simply because he makes me see the possibilities and makes me feel like writing. There are certain writers who put you in the mood to write. In the way a whiff of a cigar will bring back memories of a ballgame on a Saturday afternoon, reading Salinger makes me want to get to the typewriter.
You learn new song until you're comfortable with it to where you can record it blindfolded, but then when it comes out on the record, you forget about those little nuances and those little things that you changed during the recording process. It's those spur-of-the-moment things you do that makes it an entirely new beast that you then again have to relearn.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
To me, I don't care if I co-write or if I write alone. If it's a great song and it makes it to the record, then that's what is supposed to come, you know what I mean.
I'm my biggest critic. I want there to be no flaws when you hear it. When I think that maybe it's ready, I just hop in my car it's gotta have some bump - and go to corner stores, youngsters on the block, play it for anyone. If they get into it, I get a reaction, the song passes the hyphy test. If it's just cool, we throw it away; it's not going on the record. But if it makes you wanna move - seriously - if it makes you react the same way I felt, then it passes.
Tulips come up in spring for no reason. Of course, you planted bulbs and now in April the earth warms up. But why? For no reason except gravity. Why gravity? For no reason. And why did you plant red tulip bulbs to begin with? For beauty, which is itself and has no reason. So the world is empty. Things rise and fall for no reason. And what a great opportunity that is! You can start writing again at any minute. Let go of all your failures and sit down and write something great. Or write something terrible and feel great about it.
The only thing that's changed for me is that I've figured out a new way to do this; when I go to record, I like to do the drums last, if that makes any sense to you.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
I think record stores play a huge part in discovering new music. When I was growing up I would spend hours going through all the bins looking for something new that seemed interesting to me and that could relate to what I was listening to at the time. This is why I want to support National Record Store Day.
Maybe some people, when they sit down to write their great novel or make their great record or paint their great painting, they have it all planned out in their head. But for me, it's never worked that way.
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.
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