A Quote by Mathew Knowles
The thing with R Kelly was, he liked to record late at night, around midnight. And what was different with his studio was that one room had a recording suite, and next door was a club, with 40 or 50 people dancing.
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If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.
For his thirtieth birthday he had filled a whole night-club off Regent Street; people had been queuing on the pavement to get in. The SIM card of his mobile phone in his pocket was overflowing with telephone numbers of all the hundreds of people he had met in the last ten years, and yet the only person he had ever wanted to talk to in all that time was standing now in the very next room.
I was at the end of the studio system so when I walked into movies, I had a magnificent suite in which I had a living room and a kitchen and a complete makeup room. I had everything just for me. With the independents, you're kind of roughing it, literally.
I met Icona Pop by chance because we were both recording at the same studio. I was a fan so when I heard they were in the next room, I went to say hi. Next thing I knew, they were on two songs.
I used to go into the studio around midnight and stay all night.
The only thing that I would say to anyone doing late night shows is - it took me a couple years then - but when you leave the studio, it's over. That's what you really have to do. After a long time, I would be like, "Maybe I shouldn't have said this," or "Maybe I shouldn't have shown this." But eventually, I got to, "Ah, f - k it." That's what it was that night, tomorrow's the next night.
For me, the scariest thing about a serial killer is that there's somebody who lives next door to you, running power tools late into the night, and you don't know he has a refrigerator full of penises.
Over a year before I started recording Salad Days, so I finally sat down and was like I have to do this. And it did feel like a chore. I was looking at it in a completely wrong way, trying to one up myself. Just the typical sophomore album bullshit. The main thing I got out of it is I eventually gave up on all that stuff. I had to re-learn why I liked making music in the first place, why I liked recording in my room all the time. Because it's fun. It's fun for me.
I thought I was going to be an actor. I liked entertaining. I was pretty much tap dancing for attention from a very early age. My family was kind of musical, and there were people in the circus next door and actors across the road. I just enjoyed messing around with music growing up, but I really thought I was going to be an actor.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
Italy - I love the late-night culture, hanging around the square at midnight with everyone, catching up and having a drink.
Every project is different. When I'm working on my albums, I've worked with different producers and they've all had different personalities. The recording studio sets the vibe, and that changes as well.
Back 20 years ago, I was recording with Bruce Springsteen, and his producer called me and said I had to be in the studio the next day to finish the sessions, and I couldn't. I had to be in court, in California. All this took like 10 years out of my life.
Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.
Sometimes, Soraya Sleeping next to me, I lay in bed and listened to the screen door swinging open and shut with the breeze, to the crickets chirping in the yard. And I could almost feel the emptiness in Soraya's womb, like it was a living, breathing thing. It had seeped into our marriage, that emptiness, into our laughs, and our love-making. And late at night, in the darkness of our room, I'd feel it rising from Soraya and setting between us. Sleeping between us. Like a newborn child.
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.
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