A Quote by Todd Rundgren
By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.
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I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
I didn't make my first solo record until 1981 so I don't have any 60's or 70's recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.
I didn't make my first solo record until 1981 so I don't have any 60?s or 70?s recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.
I was going to record a solo album when I was 15 on a four-track. I started working on it, but then Fall Out Boy happened. The band was awesome and took me in a totally different direction. I don't regret it at all, but the band delayed the record I had been planning.
I have to have the reasons to make the record. There are just too many records out there, especially when it's something as audacious as a solo percussion record with solo drumming music on it. There better be a reason behind it.
I had to get out of my record deal that I signed with my previous band and get a full solo record deal going so, with all of the paperwork that, that entails it did take a while.
A producer gets the whole vision done from top to bottom, to making the record to having the record delivered to the world. That's a producer.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
The decision to change the name meant we were getting serious, because we couldn't make a record if some other band had the same name as us.
I told the boys I was in a record store, thumbing though 45s, and I'd seen a record with the name the Warlocks on it. I've often wondered whether I hallucinated it, because I never saw the record again and I never heard a word about any band called the Warlocks.
As funny as it sounds, the best thing I got out of making a solo record was to realize how much I love being in a band.
It's really important to be free and be open and honest about the things you want to do. Just 'cause you want to make a solo record or another record with another band, it doesn't have to be an insult or a slight to the band you've been with for a long time.
I'd have to say that "Mr. Crowley" in my most memorable solo... I had spent hours trying to figure out a solo for the song ... Ozzy came in and said "it's crap - everything you're playing is crap" .. he told me to get in there and just play how I felt. He made me really nervous, so I just played anything. When I came back to listen to it, he said it was great.
I was only 24 years old when I won my first Olympia. To be that young and the world champion was a lot of pressure. When I won the 8th one, I had the record. I was on top: that was the absolute best that I ever looked onstage, the best training and prep that I had done, and I had no regrets. I knew it was time to walk away.
A lot of the music is the kind of thing I grew up with, listening to it with my parents. So there was a band in London called the BBC Big Band, and I sang with them. And I had never done a big band before, and it was just so fantastic and I had such a good time...so that's how it all came about
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
I went from being a jock to a hippie. It was a very clear-cut decision. I had to be one or the other. I had to forsake that other aspect of myself. Or thought that I had to, which is regrettable. Quickly, I was back in the pine trees with the hippies, listening to my Jimi Hendrix and my Janis Joplin and turning on, tuning in, and dropping out.
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