A Quote by Rick Nielsen
I think every one of our songs could be a Top 10 record.
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One day I'll wake up and I'll have 10 or 12 songs and think, 'Oh that sounds like it could be a record.'
One day I'll wake up and I'll have 10 or 12 songs and think, 'Oh that sounds like it could be a record.
I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.
I'm so hard on myself that when I'm in the studio, I'll write 10 songs and only use one. So those nine songs that are left over, I always think, 'Where could these go? Who could they be for?'
I could easily be defending my title against top contenders in the Top 10, but if they haven't been champions or their record's not perfect, it doesn't really excite me. It doesn't motivate me. But that's why I'm facing guys like Dejan Zlaticanin, Sergey Lipinets, undefeated champions.
Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.
When I think about putting together an album, the process of listening to hundreds of songs each time and picking out the best 10 or so that will go on the record, it really sinks in as to just how many songs I've listened to all these years.
Let's be honest here - 99 percent of MMA fans haven't got a clue what's going on. They don't understand the game enough to comment on any of that. They don't know how easy it is to have an impressive record. I could have 10 guys in my gym tomorrow, beat them all up, and there's 10 wins for my record. It is that easy. It is that easy to be 10-0.
In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
Always I was dreaming of a record contract. From 10 to 13, it was all I could think of. I worked hard for this dream. Nobody could say I didn't try.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
But when you're six records deep, every record has one or two songs that need to be in every set, so you're already looking at 12 songs that you know you're going to play.
I want to be amongst the top 10, if not top five filmmakers. Though I don't think I'd stand even in the list of top 30 actors.
When I went to do "Carson" that night, they wanted us to do two songs, but we were a brand new band. "Conga" hadn't even hit the top 10 yet. They go, "Do you think you could do something that people know, because we want you to do a second song, but not two originals, because we don't want to lose the audience, just in case."
Al Gore wanted to tell people what they could listen to and what they couldn't, what they could record. It was basically coming down to the idea that he wouldn't let anybody record any music that he didn't think you should be doing. There was going to be an organization that would tell you what you could and couldn't record.
I love good momentum. It makes everybody happy and in this time that we're living in, especially musically speaking, if you can make a record that has more than 4 or 5 songs deep and it has a good variety of songs. You don't frontload it with those first couple of songs. You continue the record taking the listener on a journey, musically speaking. I think you've really got something there.
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