A Quote by Matt Shultz
I think with each record, I don't know ... they're like burdens.
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I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way. That is what is fun for me.
We all have burdens and we need to learn to carry each other's burdens, lighten each other's load.
My individual way of taking on the burdens of history has changed. I don't think of them only as burdens; I think they are honorable.
If you'd have asked me two years ago, I'd have been like "No, anything and everything. Go for it." Now, I want to focus on doing the best I can each time. But I think it's hard for me to only put out one record a year. Because I get too antsy. But it's good I'm learning to do that, because each record counts. And you should make it count.
My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.
I'm not really into the numbers game of, like, what position our record is. But you find out at the end, you know? You're like 'Oh, all right! That's good!' We had a Number Three record. That's crazy! What's that about? That's exciting to me! I think that's good.
I think teenagers just don't have the persistence to pretend to like something they don't anymore. I used to do that - make myself like stuff that didn't immediately appeal to me. When you're 17 and checking out John Cage records from the library. It's not like it's got the hooks of a Ramones record, or a Beach Boys record. But at the same time, you're like, I know there's something in here that I'm supposed to understand. And then eventually you find it.
It makes sense that that's part of the story and everything, but that's part of any story of any record - where was it record and how long and what were the people doing. I think people want to know where these events are made. That's why I like the word "record."
God has ordered, that men, being in need of each other, should learn to love each other, and to bear each other's burdens.
When I was 13 I'd record myself on my karaoke machine and if I didn't like it I'd record it again. I'd do that for hours, making sure each line sounded just right.
I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents himself, and then I know. I just follow dutifully while I'm being led.
An artist may have burdens the ordinary citizen doesn't know, but the ordinary citizen has burdens that many artists never even touch.
I waited, and I’m sure Elvis did too, for each Ricky Nelson record like we would a Chuck Berry record or a Fats Domino record, to see what was going on. I used to say to some of the guys that Ricky Nelson learned to sing on million selling records.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
We're happy with what we've achieved. Every record we've made has furthered the growth of our line of success. It's never disappeared or gone backward: each record sells more, each tour is bigger.
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