A Quote by Randy Meisner
Some groups get started too fast, and they're in the studio before they're ready to record.
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For me probably the best moment is before I get started in the morning. I get up and I ride my bike before I come into the studio, so there's a lot of peace and quiet right before the day starts and my assistants get here.
I think taking too long to work on a record you sort of lose some of the feeling, so I write as fast as I can; it's just this manic phase where I'm by myself and or on tour and I write and I write. And I send them to the guys, and we start planning our studio ventures.
Not a 'Mad Men' guy. Never got into it. I'm kind of a contrarian that way. If something gets too popular too fast before I can get on it, I just get really annoyed. Everybody tells me I'm an idiot; it's supposed to be amazing. I saw some of the second season; I loved it, but I was just detached. I didn't get into it.
Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.
I worry about fast forgivers. They tend to forgive quickly in order to avoid their pain. Or they forgive fast in order to get an advantage over the people they forgive. And their instant forgiving only makes things worse... People who have been wronged badly and wounded deeply should give themselves time and space before they forgive... There is a right moment to forgive. We cannot predict it in advance; we can only get ourselves ready for it when it arrives... Don't do it quickly, but don't wait too long.
Whenever you're ready to go and have studio time, that's when we start to record.
I feel like the world stopped. And I got off...and then it started spinning again, but too fast for me to hop back on. I feel like I'm still trying to get a...to get some kind of foothold on living
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
Most people are fast to stop you before you get started but hesitate to get in the way if you're moving.
When I started working on my own music, I didn't have the chance to record in a big music studio, so I had to record everything myself.
I think that songwriting changed when groups started spending more time in the studio.
If only I had some grease I could fix some kind of a light," Ma considered. "We didn't lack for light when I was a girl before this newfangled kerosene was ever heard of." "That's so," said Pa. "These times are too progressive. Everything has changed too fast. Railroads and telegraph and kerosene and coal stoves--they're good things to have, but the trouble is, folks get to depend on 'em.
I kind of liked the method of the seventies where they would throw a little bit of money at a hundred different groups - not millions of dollars per group, but, you know, a few thousand. Throw them in the studio, and if five of those groups came out with a hit record it would be money well spent.
I've run a lot of miles over the years, some fast and some not so fast. I've won some big races and I've had some big disappointments, but I enjoy the freedom of running and the challenge of training and competition as much now as when I first started back in high school.
I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.
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.
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