A Quote by Joe Perry
It's easy to put on a Deep Purple record and say, 'That sounds great.' But why? Part of it is individual practice, but by playing together, a talent of meshing happens.
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I'm all about talent. I love talent and I want to work with as much great talent as possible. My job as editor in chief is making the most of everybody's talent and pulling that together into a format that's even better than an individual.
I want to be connecting with the subconscious, if I can call it that, because there are not to many words to describe the real deep inner part of a human beingI want to be at that place where everything is blotted out and where creativity happens, and to get there I practice, you know I'm a prolific practicer, I still practice every dayYou have to have the skills, then you want to not think when you're playing, that's when you let whatever deep level of creativity, spirituality, I mean, you know these words are so inadequate these days but you want to get to this place where they exist.
I don't understand anything technical about music at all. I don't understand any of it, why you can't put these sounds together with those sounds. I only know what sounds good.
It's really an orchestral piece featuring a group and it was quite revolutionary at the time and it in fact, it kicked Deep Purple off as a name in Great Britain because it made all the newspapers. Everyone was writing about us. And there was some confusion as to what kind of band we were after that, which is why Deep Purple in Rock is such a hard unbending album of really furious hard heavy rock. Heavy metal hadn't been invented at that point.
I got to a happier point and then started making a record [Wild Things]. I don't mind at all that it sounds like LA, because LA was integral to me feeling better. Seeing the sunshine and all that other sorts of stuff was definitely a huge part in why the album sounds like it sounds.
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!"
I am a design chauvinist. I believe that good design is magical and not to be lightly tinkered with. The difference between a great design and a lousy one is in the meshing of the thousand details that either fit or don't, and the spirit of the passionate intellect that has tied them together, or tried. That's why programming - or buying software - on the basis of "lists of features" is a doomed and misguided effort. The features can be thrown together, as in a garbage can, or carefully laid together and interwoven in elegant unification, as in APL, or the Forth language, or the game of chess.
We're playing Scrabble. It's a nightmare." "Scrabble?" He sounds surprised. "Scrabble's great." "Not when you're playing with a family of geniuses, it's not. They all put words like 'iridiums'. And I put 'pig'.
Consciousness is somehow a by-product of the simultaneous, high frequency firing of neurons in different parts of the brain. It's the meshing of these frequencies that generates consciousness, just as tones from individual instruments produce the rich, complex, & seamless sounds of a symphony orchestra
I'm one dude that writes his adlibs. I don't just go in there and say "Gimme a track." I say what I'ma say here [then] I put effects on my voice. Why not? I wrote it. Why not show the talent? Why be scared? That's why I hate certain fans who hate cause it's not like raw hip-hop, like boom bap.
When I hear a great new record, especially when it's by someone that I respect and admire, then a part of me is like, Why didn't I think of that? Why didn't I write that record? It makes you sick, but in a way it can be a great thing. It makes you want to go back to the lab and start writing again. Maybe it will inspire you to try a little harder.
I get better at playing the guitar and piano, every time we do a record because we practice more and the years go by and it's just what happens. It is just growing up, and it's cool how over the years the fans grow up and we grow up, and it just kind of works together.
One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.
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.
Demonstration of individual talent involves originality and it is easy to destroy natural talent.
Great speeches have always had great soundbites. The problem now is that the young technicians who put together speeches are paying attention only to the soundbite, not to the text as a whole, not realizing that all great soundbites happen by accident, which is to say, all great soundbites are yielded up inevitably, as part of the natural expression of the text. They are part of the tapestry, they aren't a little flower somebody sewed on.
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