A Quote by Cody Johnson
I'd love to do a live record, I'd love to do an acoustic record, I'm already thinking about what I may want to do with the next studio record.
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If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
'Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
I always tell the story of 'Irreplaceable.' I initially wrote 'Irreplaceable' with myself in mind, with plans of it being my record. I love that record; however, what I realised about that record was that though given the circumstances of that situation - men and women are not that different - when you sing about it, it changes things, you know?
I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents himself, and then I know. I just follow dutifully while I'm being led.
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.
I feel like the live record thing is something that I've been getting used to as the years go by and with this being my second one, I'm continuing to learn what works and what doesn't work. A live record is an example of that authenticity and that realness that you find in imperfection and you can hear that in this record.
For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.
People want to be the first with the record, they want to be the first to know which songs are on the record, all that kind of stuff. So I like to just stall them a bit. Personally, I love the idea of an album that's completely new, that no one's heard any free downloads, any pre-record releases, all that kind of stuff, and nothing's been played on the radio. Totally virgin, you know, a sealed record. That's my ideal, but it's very hard to get anybody else to agree to do that.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
People don't understand the kind of fight it takes to record what you want to record the way you want to record it.
Sometimes people just see the overall success and it overshadows our true love for music and how much we love to record. I love to record music and I love to see the reception of it even more!
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.
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