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 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 do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
I was listening to this record by Paul Desmond called First Place Again. It's incredibly gorgeous. There is nothing better that you would want to get from music than you get from that record.
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
No matter what, like, I couldn't - I could break a world record, get an Olympic gold medal, and my mom would be, like, you could have done better. But you looked pretty. That's what she says all the time.
When I was growing up, you would put on a KISS record or a UFO or Aerosmith record and listen to it from the first song through the last song. It's been so long since a band has put out a record like that.
I grew up loving Vince Gill. That guy sounds just like his record - or better than his record. I've always been such a fan.
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 tried to bring in the live orchestra like Bjork does. I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.
It would be really nice to make a record that would be super-fun to play live - a record that would be funny, with a little bit of heart.
I didn't feel the need for anonymous affection, for people in the dark applauding. To me, it would be like writing a novel and then getting up every night and reading your novel. Everything I did is on the record and, if you want to hear it, just listen to the record.
If the record was picked up by Dot Records, I would imagine that they would have wanted both sides of the record to be something by Lou alone which would account for the dropping of 'So Blue'.
I waited, and I’m sure Elvis did too, for each Ricky Nelson record like we would a Chuck Berry record or a Fats Domino record, to see what was going on. I used to say to some of the guys that Ricky Nelson learned to sing on million selling records.
I don't think one party has a bad vision over the other party. I have no doubts that every Indian and every Indian political leadership would like to see this country get to a much better level. We would all like to see inclusive growth.