A Quote by Roy Wood
I think it was probably down to the fact that we weren't together personally as a band. We weren't pulling in the same direction. I always feel if you're having a good time in the studio it actually comes across on the tape and that was a bit of a miserable album for us.
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Actually, with 'Truth of Touch' I wasn't even intending on making an album. I was just having fun. I had about a six-month period of down time, and I'm not very good at sitting around. So I kind of started going into the studio and having fun with new core mendin sounds.
So whenever I had some in-between producing time down in my studio I popped a tape in and started working on it. Working a little bit at a time, it actually took almost four years.
I have a song I wrote called “Autobiography.” I came from a very intense living situation, with having a parent on drugs and not having a lot of money. So I always want to talk about the real things. But I think 90 percent of my music, I want it to be 'feel-good music'. I'm already recording tracks for my album, but when it comes time to actually say, 'this is the album,' I may be in a completely different space than I'm in right now.
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.
The fact that our band has weathered so much and stayed together for so long and we still get on stage and have a good time together, that's a big deal for us. We don't take that for granted.
All the songs on the first album were like skeletons of how we really played them. It was just a combination of not having any studio experience and having to do everything so fast. I also think that studios are, by nature, limiting. You cannot get the sound of five big amplifiers on a little piece of tape.
I feel like it's really kind of a sit-down album, much in the same way I imagine Billie Holiday or someone sitting down in the studio and singing.
The rewriting is always crucial to what I do; whenever I do a scene, I always tell myself that this isn't final and that I can do it again, better. The pacing is probably from experience. I've always liked gradual disclosure. I keep thinking of my rubber-band theory. You have a rubber band that you keep pulling and pulling and pulling, and just at the moment of snapping you release it and start another chapter and start pulling again.
Billie doesn't actually like recording sessions at all. We like making music together. She doesn't like going to some big studio and having them pretend to be a therapist for a couple hours. So by default, we always make the good stuff together.
There's something intrinsically Australian about a bunch of brothers and school friends getting together as a band at a very young age and all pulling together as a band at a very young age and all pulling together as mates to make something happen.
I always admired Walt's optimism. He seemed to know the direction he was going to. When I was at the studio, I remember he kept driving all of us back down to a more fundamental level all the time.
When we made that album with Gary Moore, I was still kind of searching for the right direction for myself. Although the music is quite good the direction was like a box of fireworks that caught light all at the same time.
You can have a favorite band, but when they sign with a major label... maybe a new producer says, 'You can't do that, take this down a notch.' And you'll keep listening, but you'll always think their first album was their best album.
A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.
My scrapbook albums are about capturing and saving the everyday joys of my whole family. In fact, in lots of ways, it's every bit as important to get the pets we love into an album or something that's going to keep them with us forever. There's not a pet owner out there who hasn't felt the loss of a treasured friend. An album lets us hold onto the good times. I've seen some incredible, touching, adorable books put together for pets - because clearly they deserve it. These are unconditional, lifelong friends.
Also there's two sides of it, I mean, a band like us, at our level and the way we have to promote ourselves and usually radio just completely turns their back on us, at the same time I think Mp3s help promote us somewhat, spreading the word about the album and stuff.
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