A Quote by Neal Schon
World Play is very '70s arena rock, very raw and in your face, and that's what we wanted. We recorded it in a very off-the-cuff manner and didn't really plan out how we were going to play. My solos are first takes.
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Every girl is a singer. I wanted to learn the solos and play lead guitar. I would meticulously teach myself solos so when dudes were like, 'Oh, you're a girl, you can't play guitar,' I could rip these insane Telecaster blues solos and tell them, 'Yeah, I can burn up a fret board.'
I was a child of the '60s basically, which is a real blank. I really started growing up, I think, in the '70s. I'm a glam-rock kid. But Dublin, Ireland in those days was a very dark place, as in it was a very poor, almost third world. Economically, the whole world is going through a recession at the moment. In the '60s, '70s, and the '80s in Ireland was a real recession. It wasn't a pleasant place.
Sexuality is a place where people are very vulnerable and can be experiencing and embodying very raw forces that they don't really understand and there's a question of how much you should control and how much you should play with those and what those forces really are, how you really feel about them. That's perennial.
It definitely takes a long time, because Umbrella Academy' scenes are very interesting from a writing point of view with all these very off-the-cuff, oddball characters who are all different from each other.
That's very hard because there's three of them that mean a LOT to me equally. 'Lissie's Heart Murmur' was one of the first songs that we ever wrote - it was one of the first songs, at the very very very beginning of our band and I've always wanted to see and hear that song recorded and turned into something and it finally was and is!
So you know, my plan was that I was going to make records, and be a rock star. And that's really what I wanted to do. And I sang from the time I was very young.
There are so little outtakes from the Joy Division era. We didn't have much money. You couldn't be very generous in recording, so we were very thrifty in how we recorded. Everything was very, very well looked after financially because we just couldn't afford it.
The world is a very, very, very big record. We just have to learn how to play it.
I wanted to show off - a simple impulse or drive; in much the same way as some kids wanted to play football, I wanted to show off. Not complicated in that sense, very natural; it just depends on how you want to show off.
I was born very, very lazy and I don't always practice very long. but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of 'Oh, I know this,' you play without that little drop of fresh blood that is necessary – and the audience feels it.
I couldn't take my eyes off of Stan [Lee]! As good as the movie is, all I could think about is, "What's he thinking?" So the movie ended, and then he, very whimsically, expressed all of his feelings about how long he waited, and how the TV shows in the '70s were all, "If only they could do this," and now they could. And he didn't get choked up and blubbery, but he was moved. Like, "Ohmigod, it happened while I was alive." And I can't believe I got to see that. He was very raw. It was quite beautiful.
'Frayed Ends Of Sanity' off the 'Justice' album is a song that I really wanted to play with the band, and for years and years, I was always like, 'Let's play this song!' But I'll tell you something: I started working on that song almost from the very first time I joined the band.
If I play well I'm not very, very happy and if I play badly I'm not very, very sad. I just try to keep my balance.
Aomori Water is a sound collage piece made in 1998, in Aomori Japan. I was in a residency with other artists. A Japanese sculptor was making a round house and wanted a sound piece to play in it. I recorded some very gentle waves lapping the beach, for the first part. And a very small mountain stream, flowing, for the second part. I layered 8 tracks. This was the first work that I did in ProTools.
My mom always told me I should have a Plan B. I said that if I'm not going to play guitar I'm going to play drums. And if I'm not going to play drums, I'm going to play bass. I always just wanted to play music. I was completely obsessed.
I come from a very musical family. My dad taught me to play guitar. I play violin and drums as well. Violin, I started in elementary school. Drums actually came when I was in a program called 'Rock Star,' which was really awesome. We were doing a song by the Ramones, so I thought, 'Why not play the drums?'
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