A Quote by Joe Elliott
It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.
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If you're using technology in a way that opens out conversation in your family, with your friends, with people you care about, I'm for that. But if you're using technology to silence the conversations with the people around you, then you have to create sacred spaces in your home, the kitchen, the dining room, the car.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
I'm a big believer in the benefit of a home studio. You're sitting there and maybe you don't know the next line. So you go outside for a second, maybe. Make a sandwich. Play with the dog. Or watch an episode of 'The Office,' whatever. And then it clicks, you run back into the room, and you've got it. It's not like your creativity is on the clock.
I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.
Most startups are not just built for the person who is using them. When you do that, every now and then you get really lucky and... are representative of some huge class of people who all want the same thing you do... but very often that just turns into a side project that doesn't go anywhere.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
Because we take these huge long breaks, and then I just kind go, "Okay, fine, this is the way that I've chosen to live my life, and if the band now fades into obscurity, so be it, that's my decision." But then we come back and it's still as big as ever, or bigger. It's always been a surprise to me, that it worked out that way.
You don’t have to know a lot of things for your life to make a lasting difference in the world. But you do have to know the few great things that matter, perhaps just one, and then be willing to live for them and die for them. The people that make a durable difference in the world are not the people who have mastered many things, but who have been mastered by one great thing.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
It's cool because you don't know how certain songs are going to go over until you play them live. For some reason, "Shivers" gets a huge response. I was not expecting it. When I start singing in the middle of "Baby Get Worse", they go nuts. Just little surprises like that.
I am personally a big believer that technology is the biggest driver of human development, and if you can use technology to benefit people, then that's the best business you can have.
If you've got a dirty job, the best way is to help each other and then you'll create this culture of mutual benefit. And then you've got to understand who your customer is and create value for them and so on.
I always have a ping-pong table in the studio. If you're with an artist and you notice the situation is going south a little bit, it's like, 'You wanna play ping-pong or foosball?' Or, 'You wanna go grab somethin' to eat?' And then you just like talk to them and relax them and get them comfortable and get yourself comfortable.
But I did mine through a production company. All the music I did, I gave to the production company. Then the production company would give the record company the album. I used to do all my albums like that. It was fantastic. But now, understand, I have never planned to do anything with these other tapes. The one that are released, like the Virgin Ubiquity you have there, I wasn't going to do anything with that music. One day, I was talking to this guy that owns BBE over in England, and I said I've got some tapes and stuff that you might be interested in, and he went berserk.
I'm firmly of the belief that your youth should be spent pursuing your passion - not just slightly, tremulously, haltingly, but unrelentingly, with a vengeance, to the max and then beyond. So dream laughably big - and then take an absurdly huge risk or two.
I've had a couple tapes out and they weren't really tapes, it was just some songs that I had made, and then I would throw them together as a compilation and put a name on it. And then when I would release my next thing, I would just delete it.
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