A Quote by Frank Iero

With our first record, we wrote concept songs but not a concept record. — © Frank Iero
With our first record, we wrote concept songs but not a concept record.
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.
Normally when we go in and write the songs we write, we think about doing a cover, but never a covers record. That would be, for us, a concept. We don't want to have a concept!
Everyone is looking for connections between the songs. I don't usually approach a record as a concept. There's no overriding theme I'm trying to represent. It's all about the individual songs.
There have been many socially conscious concept albums. I wanted to make a 'social consciousness' concept album disguised as a country record.
I do have my more concept-y albums, and then I have the ones that are more about just collections of songs. For me, the first Dirty Projectors record that I put out was like that: 'The Glad Fact.'
I got it into my head that I had somewhat neglected the guitar, and then I did a record called 'Arena,' and it was not a particularly bad record - it wasn't a bad record at all, but it was built around a certain concept, which is a guitar quartet, with a little bit of augmentation here and there.
I always said, if I got a record deal, I'd want to record the best songs I could, whether I wrote them or not.
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.
For me, you say the words 'concept record,' and the first thing I think of is theater or the opera or something.
Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.
We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.
Before we started writing we did feel pressure because of the success of the first record. One of the first songs that we wrote was "Out Of My Heart" which is the first single. As soon as we wrote that, we knew we just set the standard and every other song had to be as good if not better.
The whole concept of treating people with dignity and respect is a concept that isn't a business concept, it's a life concept. It's who you are at the end of the day.
I record into my phone as soon as I hear a track. Melody comes first for me, and then my gibberish usually forms into lyrics and a concept from there.
In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
If you're a novelist, you have sort of themes that run throughout novels. You start a novel and you finish a novel. With record-making in the singer-songwriter world or whatever it is that I do, it's a little different because there is no specific arc that is necessarily, like it's not a concept record.
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