A Quote by Gina Schock
The first album is a special one for most bands or most artists in general. The first record is your whole life, and then after that you have a couple of months to write stuff and get it for the next record.
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I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.
You're not going to hit it every single time, and that's why, when I record an album, I do probably close to 50 songs. Each song I record has to get better. If it's not better than the last song that I made, it'll usually linger for a couple of months, and then it'll be put on the backburner, and then there'll be another song that I do, and then it often doesn't make it on the album.
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.
That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real.
When After Forever stopped, I didn't want to first find a band, then see if I could write with them, figure that whole thing out, then record an album. Instead, I worked with people I knew would be good songwriters out of an idea how I thought it would sound like.
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'd had my whole life to write my first album. I had my No. 1 and my third single out, and they go, 'Hey, guess what? We need to start recording the next one.' I'm like, 'Uh oh, I got to write another album. Well, how am I gonna write 'Should've Been a Cowboy' and 'Ain't Worth Missing' and all that again?' It took me forever to write the first one.
Basically, a band's first record is them coming together and really learning everything, and then, after they're on the road and really become a unit, the next record slams.
Your debut record, in terms of lyrical content, can be about the last couple of years of your life obviously, but your first record into the world is also about everything else that you've ever experienced in your life until that moment.
In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.
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.
I first thought maybe I'd do a banjo presentation record, where I'd play a couple of songs and get a bunch of other players to do the rest. Then I realized I had enough of my own songs to do an album of them.
From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.
I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.
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