A Quote by Phil Everly
My son and I run a string company, and he has a studio there, and I go down sometimes and we'll record.
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Interestingly, many Indian companies where there's a father-and-son combination are being run as joint CEO organizations because the father has not given up running the company and the son is actively involved in running the company, and there is division of responsibilities.
When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.
The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.
I was amazed at how the life of a freelancer differed from running a remote studio for another company. I thought I knew what I was doing in 2004 when I left Eidos because I had run Ion Storm Austin, which was my own independent studio. I had run a business unit inside Origin, but being part of a startup is crazy.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
In the mid-1970s, I even decided to make my own country album. I put the idea to my record company, thinking we'd just go into the studio in the U.K. and make a novelty album. But instead, they suggested I go to Nashville. I was flabbergasted. I hadn't expected that at all.
I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.
Interscope is run more like a rock band than a record company. It's run in a very spontaneous, heartfelt way.
The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.
We had such a small budget making our first record, and the only way we could make it work was that the record company would find studio time in the middle of the night - literally, that was so cheap that we could afford to do it.
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.
I've been in fortunate position of never really having to battle with my record company to do the things I wanted to do in the studio.
I think people can just make things now. It's kind of what happened with the music industry. Before, a band couldn't afford to go into a nice studio, or if they were going to go into a nice studio, they had to record twenty-five songs in two days. That's not a healthy workflow for anyone.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
'Love Tattoo' I recorded without a record company. I'd gotten turned down by the record companies - they said they didn't get me, which is fine, I suppose.
Band on the Run' was pretty significant for me because two of the guys didn't turn up to record it. It was just me and Paul. The two of us had to go into the studio and make that album ourselves. With Linda of course.
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