A Quote by Synyster Gates
There are those people who try to change what you're doing. We don't like that. When we went into the studio for 'City of Evil,' we had 99 percent of the songs finished and ready to record.
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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.
As someone who came to New York in the 1970s, I was, like so many of my friends, a certified member of what we now call the 99 percent - and I was a lot closer to the bottom than to the top of that 99 percent. At some point during the intervening years, I moved into the 1 percent.
13. 99 percent is a very large percentage. For instance, easily 99 percent of people want a roof over their heads, food on their tables, and the occasional slice of cake for dessert. Surely an arrangement can be made with that niggling 1 percent who disagree.
What people fail to realize is that any album we did, really, 90 percent of it reflected the songs people brought in. If someone had brought in two great rock songs for 'Cornerstone'... they would have been on that record.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
In order to make a normal-sized record, a singer songwriter should have a couple dozen finished songs. Once they go through the process of production, the ones that scream out at you that they're finished are the ones that make the record.
It sounds so innocuous but the difference between 99 percent and 100 percent is huge. You can finish at 99 percent and you'll be hurting but if you push a tiny bit more - and that's the bit that makes the difference to your training - your legs just grind to a halt. It's like your engine is seizing up.
I like clever songs. I like songs that make people think and I try to have substance in all my records, even with 'Sweet Dreams' how it was a club record and it was up tempo, but it was melodic and it was, like, lyrical.
I kept saying I got sick of listening to people's productions, like people who had no ideas, no songs, nothing to say but could still con people's ears into thinking those songs were there by the application of production. I kind of wanted my record a little more honest than that: "Well, this is us. We put a microphone on it. Here it is."
It's so easy to steal from the bottom 99 percent, but try stealing from the top one percent, and they put you under the jail.
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.
There are companies which are prepared to change the way they work. They realize that nothing can be based on what used to be, that there is a better way. But, 99 percent of companies are not ready, [they are] caught in an industrial Jurassic Park.
When I was in the studio doing 'Hungry Eyes,' we had to make it an '80s record, but we wanted it to feel like the '60s.
I can't just go into the studio with one idea and be all in on that, 100 percent. It takes me a while to arrive at something that feels like it's finished.
It can get a little costly if you try and leave it until then to write songs. But you're writing all the time. You're collecting songs. I've had songs that have been collected over a two-year period for my next record.
When we finished the tour we had been writing together for a year. We moved forward from there and have just now finished our record. We're having a new record out in the Spring.
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