A Quote by Janis Ian
'Society's Child' was a real hard record to start with. That's all you want is for you to put your first record out and have people screaming at you in the streets. But it taught me right away that what I was doing was valuable and important.
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Society's Child' was a real hard record to start with. That's all you want is for you to put your first record out and have people screaming at you in the streets. But it taught me right away that what I was doing was valuable and important.
If you'd have asked me two years ago, I'd have been like "No, anything and everything. Go for it." Now, I want to focus on doing the best I can each time. But I think it's hard for me to only put out one record a year. Because I get too antsy. But it's good I'm learning to do that, because each record counts. And you should make it count.
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.
Everything I'd taught myself about screaming is basically a big no-no for singing. Your posture, your airflow - you're just pushing all the air out. When you start out, you're fast, heavy and loud but you're hiding behind it in a way. When you stop screaming, that's when it gets hard.
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.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
It wasn't just like, "I want to make a record that sounds like classic rock" at all. It was more like, "I want to make a record that is a little more unsettling and maybe isn't as easily understood now." That just seemed more important, like, for me to make as an artist, than it was to make something to make people feel safe right away.
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 feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.
It is true you can be successful without [college], but this is a hard world, a real world, and you want every advantage you can have. I would suggest to people to do all that you can. When I dropped out of school, I had worked in the music industry and had checks cut in my name from record labels and had a record deal on the table, and when I wasn’t successful and Columbia said, ’We’ll call you,’ I had to go back and work a telemarketing job, go back to the real world, and that’s how life is. Life is hard. Take advantage of your opportunities.
You can think of a number of bands where the first record is by far their biggest record. And that must be hard for people to recapture. Hard for people to live with.
My first record I ever got was 'Full Moon Fever.' My dad gave me a copy when I was maybe nine years old or something. And I listened to the heck out of that record. I loved that record.
Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.
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.
But I think it's hard for me to only put out one record a year. Because I get too antsy. But it's good I'm learning to do that, because each record counts. And you should make it count.
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