A Quote by Lindsey Buckingham
When I work alone, and I'm in my studio, and I'm playing a lot of the stuff myself, I think the style of it becomes something a little different.
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I love using lots of different pedals in the studio because you have the time to experiment with sounds. But when you're singing, fronting a rock band, and playing, you don't really want to have to think about a lot of that stuff.
I love to learn, and I started doing a lot of studying of Spanish-style music and really started getting into it and how it is just a completely different form of guitar playing. It is just like if you started speaking in a different language like Japanese or something. It is something that you have to study and work at a lot.
I don't think I could compare myself to Macaulay Culkin, because we're pretty much two different kinds of actors. He's done a lot of comedy. He does mostly just comedy like 'Uncle Buck' and 'Home Alone' and 'Home Alone 2.' And I've done a lot of different stuff, like sad movies, like the movie about the kid with AIDS.
I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.
I dont think I could compare myself to Macaulay Culkin, because were pretty much two different kinds of actors. Hes done a lot of comedy. He does mostly just comedy like Uncle Buck and Home Alone and Home Alone 2. And Ive done a lot of different stuff, like sad movies, like the movie about the kid with AIDS.
I hate to give myself credit for anything, but I will say I really enjoy, as an actor, and especially with comedy stuff, playing with different rhythms and with different ways around a joke. There's always an obvious route, and there's one that maybe is a little bit different.
It's funny because as a composer, you want to hear your songs live on. I think a lot of times people will create a song and it becomes stagnant or something that they're no longer interested in playing, and they leave it alone.
There are different 'It' factors for different players. There are all kinds of different personalities of quarterbacks around the league, but there are a lot of good ones and they don't necessarily think and act alike. But I do think there are moments during games even on the collegiate level where you can see that this guys is something different, someone sees things differently, they see things a little bit quicker, they're a little bit more cognizant of what's going on. I think it's something like that.
I really tried to push every genre that I could into this record. I wanted every song to have this feel, where as soon as the listener tunes in, they say "That's CoJo, that's Cody right there." That being said, it is a little different. There's Americana, there's Bluegrass, there's some rock, there's some really George Jones-style stuff on it, slow-style Ray Price country elements, there's some modern country, a little of this and a little of that. We tried to push a lot for show versatility, because I grew up with a lot of versatility in my music.
Lagos style is fresh and different. Even with the tailors, they get very innovative with their stuff, with the cuts. When my parents used to make the traditional wares, it was a little bit baggy. But now the tailors are able to infuse the European style, making it slim-fit. Lagos style is different, man. Innovative.
I didn't have any brothers or sisters, so I did a lot of stuff where I entertained myself playing games, reading a lot, a lot of fantasy novel stuff.
I definitely don't look at myself as a 3-point shooter, but when we're playing three big guys, I find myself on the perimeter a lot, and they leave me alone. I've got to knock it down or do something with it.
There was a time when hip-hop was its own musical principle, aside from sampling. Like the entire Wild Style break is instrumental. Kurtis Blow's earliest stuff was studio musicians playing. Whodini had a real clear sound, things like "five minutes of funk," stuff that you could write really beautiful, lush string and horn arrangements around, stuff that was just music.
I don't think my style of playing is different from the classic Brazilian style.
I have been robbed of three million dollars all told. Everyone today is playing my stuff and I don't even get credit. Kansas City style, Chicago style, New Orleans style hell, they're all Jelly Roll style.
I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
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