A Quote by Teena Marie
I constantly tour, even when I don't have a record out.
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So we are not doing the traditional album, tour, album, tour, album, tour anymore. We're going to tour when we want to, regardless of whether we've got a record out.
Traditionally the show must go on which is a stupid thing to say, but that in a nutshell is what's going on. We have a new record out; if we won't tour, the new record dies. It's reality - it's what business is nowadays. You just need to tour to sell your albums.
My life used to be record, tour, record, tour. You can never say no as a freelance musician. I was on the road 200 days a year.
What I noticed, in the short time I've been in Chickenfoot, we wound up doing a tour and a live DVD with basically that scoop sound. I was using OD2 for that entire tour. When we went out on this new tour and made the new record, I used the amp in an entirely different way. It was already modified.
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.
When you make a record and have to go out on tour for it, you have to go out on tour for it. Whether it's going to be joyful or not, you have to do it.
You want to put out a record that you feel is exactly as you want it. Nobody wants to tour for two years on a record they don't like.
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.
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 can't relate to the process of just disappearing and writing a record, all at the same time, followed by the sort of drudgery of going out on tour and trying to recreate the record, playing the same 12 songs every night.
When you're a music director, you have people constantly sending you music and trying to get - I mean, I'm sure you have the exact same thing when you do a magazine - that you have people constantly wanting to get your attention. And I think I learnt a lot from being on that end of things, when I was trying to book the tour, the first tour we did.
The live thing is separate from the record for me. I have to figure out a way to make the songs work live. It's always going to be different than it is on a record, because every record I've made, there are people playing parts on there that are not going to be coming on tour with me. As much as still feeling connected to it, it's more like rediscovering.
No, if it was up to me every record would be brand new studio material but Atlantic records asked me to put out a full live record because my tour really did do well last year.
I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents himself, and then I know. I just follow dutifully while I'm being led.
Dweezil and I are going on tour with the band probably starting in the middle of February for a month probably playing a few songs from my new record and then I'll continue on after that tour
Dweezil and I are going on tour with the band probably starting in the middle of February for a month probably playing a few songs from my new record and then I'll continue on after that tour.
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