A Quote by Johnny Rivers
After that initial success, every chance we got we'd hire that remote recording truck and just record stuff at the Whisky because it was so inexpensive.
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About two months into the Whisky, I borrowed some money and rented a remote recording truck.
A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.
My recipe for success is chance, basically. Just luck. It's a miracle that people still hire me after some of the stuff I've gotten away with. Honestly!
I like to record with people. I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
I only toured for three months. As soon as I got off [tour], I was just dying to start recording, because it was on my mind: 'I've got to make another record now.' And I was totally excited.
After years of begging, I got my parents to get me a little Craig tape recorder, a reel to reel. Then I started recording voices, or recording Jonathan Winters off television and stuff like that.
Obviously, it's designed by record company executives who want a cheap success, and they don't want to give money to anybody and they don't want to give contracts, so they've created this world of very bubbly teenagers who want to be "idols" and they think all they have to do is mime quite well and they've made it. ... But it's not the problem of the kids, it's the problem of the record companies, because it's just an inexpensive way for them to have so-called, I won't say "artists", but erm...You're nodding, you know what I mean.
If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.
We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.
We frequently hear of people dying from too much drinking. That this happens is a matter of record. But the blame is always placed on whisky. Why this should be I never could understand. You can die from drinking too much of anything - coffee, water, milk, soft drinks and all such stuff as that. And so as long as the presence of death lurks with anyone who goes through the simple act of swallowing. I will make mine whisky.
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.
I got to record at Capital Records, which was especially awesome. You see all those big singers like Ariana Grande, Beyonce: they're all recording at Capital. It was really cool to be there every single day and just hang out.
Because I was independent for such a long time, and I was always just feeding my fans - every month, I'd be giving them something new. So I had to adjust to the process of making a record. And after signing with a label, there are just certain things you can't do anymore. It was frustrating at first, but as the months went by, I got used to it.
Abbey Road was actually one of the first studios I ever got the chance to go to. A friend of mine won a competition and got the chance to spend a day recording there - that's when I was around 15 - and I was the only one who could engineer out of all of us.
'Circuital' was just so much about us as a band. We captured every song live, including the main vocal. That is probably my favorite My Morning Jacket record because it's really the essence of us being us. The solo record is just a completely different essence of just me trying to figure out stuff.
When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
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