A Quote by Synyster Gates
We tried our best for so long to make the heaviest record we could make.
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I could do another tour, make a record that's very similar, do similar venues. Or I could make a different record, do different venues, and grow. It's exciting to take it to new places, but it's never been my intent to be the biggest thing in the world. That's not what my drive is. I want to make what I want to make, and make a living off it.
My goal every time I make a record is just to make the funkiest, the best music I could possibly make, both lyrically, and music-wise.
I tried to make the best music that I could possibly make, and then nothing was ever good enough.
I actually went out and tried to hire the very best Cabinet officers that I could, understanding they can make help make the hard calls for the budget position that we're in.
I wish I could go out farther from my musical history. I didn't realize how hard it was until I tried to do it. All the basic tracks on Romanian Names were done in my basement, alone, without any of the self-consciousness that comes with being in the studio. It was a completely different process. And those two things definitely made the record sound different. But you want this quantum leap from record to record, and maybe if I did make a quantum leap I'd make an unlistenable album. So maybe I'm lucky that I can't pull it off.
I gotta make a living. I make no bones about that. Most actors do. But within that context, I've never not tried to make something as fresh and alive as I possibly could make it.
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.
I wish I could make multiple records, stylistically. The way that I'm gonna remedy that is to make a diverse record with a lot of different styles on one record.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
I wanted to make a record with a twist. I wanted to prove that you could make a record that concentrated on song craft but that was still fun, something you could listen to and love and even dance to, but not hate yourself in the morning. I think I did that. Most of my lyrics come from my own personal journals that I have kept over the years.
I can make a record with six-part string arrangements and the best musicians in the world and have it be not genuine. I'd rather make a genuine record that I truly stand behind and have it fall where it may.
I try to make music with emotion and integrity. And authenticity. You can feel when something's authentic, and you can feel when it's not: you know when someone's trying to make the club record, or trying to make the girl record, or trying to make the thug record. It's none of that. It's just my emotions.
I couldn't make ends meet. I tried Red Lobster. I tried Wal-Mart. I tried all these places and I couldn't make it. I couldn't. So, I tried this gentlemen's club, and, you know, I worked there, and it was just awful in those places. It was terrible.
I usually tried to stay in the net for 45 minutes, half an hour longer than most batsmen would stick at the county nets. There was a reason for this so-called gluttony of practice: it was a conscious effort to make myself concentrate for long periods of time in circumstances as close to the real thing as I could make them.
There's really no difference between what I do and what a male filmmaker might do. I mean we all try to make our days, we all try to give the best performances we can, we try to make our budget, we try to make the best movie we possibly can.
You've got to try to guard, make an effort to defend to the best of your ability. You have to rebound the ball, which was an area that was so critical. And they wanted you to play smart and have fun. I've kind of tried to let our people understand those are the most important things that I could possibly tell them.
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