A Quote by Chris Squire
Over the years, Yes actually made 20 albums of original studio material.
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I've made over 25 studio albums, and I think probably I've made two real stinkers in my time, and some not-bad albums, and some really good albums. I'm proud of what I've done. In fact it's been a good ride.
There have been 15 or 16 screenplays over the years, including one by me, but none of them has gotten made because Paramount is a huge studio. The Dice Man is an anti-establishment cult novel and you don't normally make studio films from such dark comedy material.
I have been working since I was 20, and I'm 38. I actually once averaged out what I had made over my professional life. I think I could have made that much as a waiter or an insurance salesman. You know, I spent so many years in my 20's making $10,000 a year.
It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.
There is something about live albums that I enjoy so much more than studio albums from all of my favorite artists. When I am listening to them live, I get to connect so much more to their truth than in studio albums.
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
There's a band of studio session - hot players - that play on my albums... They're an eclectic bunch of misfits that I've worked with for years and years.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
'One Flew Over the Cuckoo's Nest,' which my father had tried to get made for six, seven years, and I for four, was turned down by every studio. Every studio in the world had passed on it.
Without a doubt, if I had it to do all over again, I would do whatever it takes to be a one-person studio. You need to learn how to write so you can control the material. If you own the material, you can do it all.
I listen to all the top 20 songs, and top 20 albums, even the rap albums. But I don't like negative messages. If somebody is putting a lot of ego out there, I don't like it. When I make my records I want it to be sincere.
I find the fact that so few people buy albums to be strangely emancipating. There's absolutely no reason for 99% of musicians making albums to think about actually selling albums. So as a musician you can just make an album for the love of making albums.
You can put a person in jail for 5 years, for 10 years, or 20 years, for the same crime. We're deciding on 10 years to 20 years, when 5 years would be enough. Okay. The deterrent value, the additional amount of leverage that you get over a criminal to keep them from breaking the law in the first place, associated with making the sentences longer, is de minimous; it's essentially nothing.
I started running to different albums, and I was starting with the short albums and moving on to the longer albums. I was interested in how they built up, in tempo and intensity. it made me interested in albums again, too.
We have made a huge amount of progress over the last 50 years by enabling trade, by enabling kind of collaboration and learning. And actually, in fact, when you look at your average 30-year-old today, they're much better off than a 30-year-old 20 years ago, 30 years ago, because of progress in technology and health care and all the rest of this.
I photographed rocks and trees and tide pools and nudes and all that stuff for years and years. Until 20 years ago when I found that I could do it in the studio and never have to travel.
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