A Quote by Jason Isbell
I've always wanted to pull off 'No One is to Blame' by Howard Jones. I've done that a couple times in solo shows, but I can't figure out how to do that with a full band and make it work.
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The thrill in fashion for me is taking a risk and daring myself to make it work. Even when I go shopping, I always buy something twisted and I know I'm going to have to figure out somehow to pull it off and make it my own.
It's weird with stand-up comedy. It doesn't really translate worldwide. I want to figure out how do I make it worldwide. Do a special in Africa. Can't beat that. Pull that off, then I will have done something.
I like having to figure out how to pull things off, how to sell it, how to make it look real, but not just real, make it look better.
Basically, every band that makes it has some dude with some sense of business. I don't know if our band would've been so successful were it not for Daniel's [Kessler] insight into how things really work. Daniel was the one who was diligently saying, "We should make a demo, send it out, play shows but not too many shows, get on shows with touring bands that are coming to New York."
You have to figure out as a band how a band becomes a business, and then you have to keep that business mentality separate from the creative one, which is good for the songs. It's always a work in progress.
It's a lot easier to figure out how to scale something that doesn't feel like it would scale than it is to figure out what is actually gonna work. You're much better off going after something that will work that doesn't scale, then trying to figure how to scale it up, than you are trying to figure it all out.
I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
I've always wanted to figure out how to do a walking story. I'd never figured out how to do one and have it work or be interesting or have anything that it's about.
We don't think about how the songs are going to translate so much during the writing process. Once the song is recorded, and once we're mixing, that's when it occurs to me. Then you start rehearsing to play shows. I never concern myself about how we're going to pull it off live, because I know we'll figure out a way to do it.
I did exactly what I wanted to do. It was always my intention to put a band together and be a band and not be about the solo pop guy. That was never me. All of the musicians that made me do what I wanted to do were bands. I didn't see it any other way.
From 1985 to 1994, I lived in Manhattan in a big old loft right off Times Square. I could walk to work, which was in a couple of Broadway theaters, to Howard Stern's studio, and to 30 Rock for 'Letterman' and 'SNL.' Even in New York, walking to work is homey and folksy, like living in a small town.
We've always wanted to do it, something you could dance to, and deep down we always thought we could bring something to the table if we could do it, but the live shows always made us pull back and be a rock band.
Our band Stereophonics never wanted to release a couple records and be the biggest band in the world for 10 minutes. We always wanted to stand the test of time, and make great music that people would want to listen to and that music lasts. We'd looked up to artists and bands that had big back catalogues.
There are always fights in a band. People get together for these reunion shows after 20 years, and they play a couple shows and break up again.
I wanted to play rocking country music, and when I started out in the late Seventies, it took me a couple of albums to figure out how to do that.
I always wanted to do an emotional role but was rejected a couple of times because the directors felt that I have always done negative roles and so I wouldn't fit the bill. That was dejecting.
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