A Quote by Jack White
The main things to rebel against - over-production, too much technology, overthinking. It's a spoiled mentality; everything is too easy. If you want to record a song, you can buy Pro Tools and record four hundred guitar tracks. That leads to overthinking, which kills any spontaneity and the humanity of the performance.
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When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
I think 12 songs is too much to listen to all at once. When I buy a record, I get to the fifth song, and then I don't get to really hear the rest of the record.
The reason for backing tracks is to not veer off too far from the record and have what the fans actually want to hear. Artists use backing tracks just so they can stay close to the record and what the consumer heard for the first time. It's not to be confused with lip synching or anything like that cos that's not happening at all.
I grew up listening to The Beatles, Led Zeppelin, and every record those bands put out was very unique in its own right. I have that mentality. too: if a song sounds like something I've already done, then I'll throw it out, because I want each record to be a progression.
You just do the best you can. It doesn't necessarily mean that you have to get worse the more you do it. It can get better, I think... aspects of it, anyway. I mean, I don't write as much as I used to. But I don't do a lot of things as much as I used to. So that's the natural order of things, too. You're more or less living in the present. You're just trying to get that next song, whatever it is. And not think too much about what happened on the last record, or the record you made 20 years ago, because those are over with. Those are done.
I casually advise a few young companies, and I'm always surprised when I see them overthinking simple problems, adding too much structure too early, and trying to get formal too soon. Start-ups should embrace their scrappiness, not rush to toss it aside.
I really can't watch myself. I just get too in my head about it and start overthinking everything.
I don't think any of us felt like, "Oh, we need to put joke songs on the record." If we found something funny, we would record it, and if we wanted to, we'd put it on the record. It's not really something we spent too much time agonizing over.
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.
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. That is what is fun for me.
I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way. During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.
Back then, Pro Tools only had four or eight tracks, so we couldn't actually hear all the tracks. We could only hear eight at a time, so if a song had 25 or 30 tracks, we wouldn't be able to hear it until we went into the studio an put it all on tape. The process was a little bit backwards.
I'm from the pre-Pro Tools era where you had to meet up with the artist and go over things if you wanted to record a track.
I love Rebel Rebel in Manhattan's West Village for vinyl, but record stores are hard to come by these days. I almost don't even use iTunes. I mostly use music subscription services. But I'll go into Rebel Rebel once a month or so and buy everything I love on vinyl.
'Something/Anything?' was kind of a different record, since I'm playing everything myself. A lot of the songs on there have a particular kind of instrumentation that is much like a guitar quartet, and in some ways, it's an exceptional song on that record because so much of the writing on 'Something/Anything?' is piano-oriented.
I say too much of what, he says too much of everything, too much stuff, too many places, too much information, too many people, too much of things for there to be too much of, there is too much to know and I don't know where to begin but I want to try.
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