A Quote by Grace Slick
My solo albums were each like a half-finished puzzle; they represented only the beginning of a full picture. Simply put, they were inadequate and incomplete.
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Without a bottle to hold, I feel incomplete, the way Plato says we are each born only half a circle, and we spend out lives seeking out our other half. A drink is my beloved. Without it, I am wanting; I feel half finished.
When you put an individual on the cover of a big picture magazine, like 'Life of Look', their career skyrocketed. As a photographer, you were very empowered; people came to you, bowing to you and what you represented.
The scaffolders and builders from demolition companies nearby used to play each other for 20 quid a man - the tackles were mad. I played for the local estate against them one day and we won, there was a full-scale riot. 'He's a ringer' they were saying. Half of them were drunk so I could get the ball and just run and around them - I was only 12!
When I formed the band and created the Wildabouts with my friends, we decided we wanted to make a band-sounding album, a rock-sounding album. I made two solo albums before that were more experimental albums, and I think that they didn't really resonate with my fan base because they were too out-there, too artsy.
We weren't friends[...]We were more like jigsaw pieces, each of us part of the same big picture. There are people like this wherever you go. They are part of the same mystery as you are, but you can't quite tell how you fit together. The world is a puzzle, and we can't solve it alone.
I made 'Desert Moon' and when I made those solo albums, I was trying not to be Styx, because I thought, 'That belongs to us.' So, I made different kinds of solo albums that were not dipping my hand back into the magic Styx jar and pulling out all the tricks - because bands, they have tricks, don't they? That's what makes them different.
Each picture with its particular environment and unique personal relationships is a world unto itself - separate and distinct. Picture makers lead dozens of lives - a life for each picture. And, by the same token, they perish a little when each picture is finished and that world comes to an end. In this respect it is a melancholy occupation.
Back in 1985, I was working on my third solo album when the band came to me and asked me to produce the next Fleetwood Mac project. At that point, I put aside my solo work - which was half finished - and committed myself for the next seventeen months to producing 'Tango in the Night.'
There are only three great puzzles in the world, the puzzle of love, the puzzle of death, and, between each of these and part of both of them, the puzzle of God. God is the greatest puzzle of all.
I think of each movie as a puzzle. The fun is in solving the puzzle: finding a musical identity for the picture, however that can be summed up.
I waited a long time, an hour or two, to make that picture perfect. But I wasn't totally satisfied. Then, when I'd finished the shoot, they were about to leave and they suddenly hugged in front of a radiator. I took my camera and that was the picture that ran everywhere - it was spontaneous emotion you could see they were completely in love.
Some of my favorite records growing up were Christmas albums. The ones I liked best were the albums that you could listen to from start to finish. You could put them on while you're decorating the tree or driving around looking at Christmas lights.
In albums like 'What is Love' and 'TT,' we were bright and full of energy.
That was the producer who produced a couple of my solo albums. He produced my second, third and fourth solo albums. It was his project and I just joined him on it. I sang on one and played bass on another one.
Your whole life and the story of your journey is the landscape picture on the front of the box of a 1,000 piece puzzle. The pieces are each a small sticky note that ends in mid-sentence. You simply need to figure out where each one starts and ends.
The albums I did around that time probably wouldn't have been the same without Ecstacy. The first three Soft Cell albums... were all really albums that were just done around Ecstacy and the whole E feeling.
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