A Quote by Paul Simon
When I was 15, I made a solo record. It made Artie very unhappy. He looked upon it as something of a betrayal.
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I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
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.
In 2010, when the Lotus Sutra was made available to me by a private dealer, I was very fortunate to be able to have it. It is very long, 30 feet or something crazy like that. It has some 15,000 very small standard script characters that the artist Zhao Mengfu in the Yuan dynasty made when he was in his 60s.
I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.
I made a record in 1996 called 'Animal Rights' that was a very difficult, very dark punk-rock record. Of all the records I've made, it's my favorite one. It's also the one that got the worst reviews and sold the worst.
I have to have the reasons to make the record. There are just too many records out there, especially when it's something as audacious as a solo percussion record with solo drumming music on it. There better be a reason behind it.
We made some mistakes, but we made some great strides too. Certainly we changed the way that record labels looked at women.
Well, I never made a record to be in the Christian market. So when I made my record it was to exist in all of the markets. I grew up not really listening to tons of Christian music and if I did it was in the context of all the other music I listened to. So when I made the record I definitely had plans and visions and dreams.
The first record I made, when I listen to it, I understand. I understand perfectly well why certain musicians were unhappy with me. I had to decide: was I unhappy with me? I liked it. If they didn't like it, it was on them.
I made 'Desert Moon' and when I made those solo albums, I was trying not to be Styx, because I thought, 'That belongs to us.' So, I made different kinds of solo albums that were not dipping my hand back into the magic Styx jar and pulling out all the tricks - because bands, they have tricks, don't they? That's what makes them different.
I knew I didn't want to make a country record just because that's not really what I would have ever made as a solo artist.
The only time I made money was when I licensed my own solo guitar record, which sold maybe seven copies.
My first record was made in Termonfeckin, which is a small town on the north-east coast of Ireland. I had been in London, but it didn't click. So, at home, I didn't think about making something, just whether something could be made. There was no grand plan.
When I was 15 I became a full-time singer in a band. At 18 I made my first record.
My policies and my record are very clear that I have made it easier to vote. We have made the elections process more accessible to people in Georgia, not less, despite their rhetoric.
I was going to record a solo album when I was 15 on a four-track. I started working on it, but then Fall Out Boy happened. The band was awesome and took me in a totally different direction. I don't regret it at all, but the band delayed the record I had been planning.
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