A Quote by Rosanne Cash
Yeah, I was in the phase for the last ten years or so where every record I made I said OK, that's the last one, I don't want to record anymore, I don't want to do this any more, I don't want to have a public life.
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If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
That last record I did, I think I played every guitar on the entire record. I want to do something more fun and exciting.
I want to make a better record than I made the last time. I want to grow. I want to discover new things about myself creatively.
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.
I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.
I learned in the last few years that it's really unhappy and really unsustainable to try and base your well being on something as arbitrary as record sale and critical acclaim and the interests of the public. All of those things are so fickle. So my approach now to music is I want to make records that I love, and I hope that other people love them, then that's OK.
In this business, things go in waves, and I might make a record every three years. That's enough for me; that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one.
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.
Things go in waves, and I might make a record every three years. That's enough for me, that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one. There's other stuff out there for them to listen to.
When Sinatra was alive and singing, he was constantly changing orchestrators from one album to the next because he said he didn't want every record to sound like every other record.
People don't understand the kind of fight it takes to record what you want to record the way you want to record it.
It makes sense that that's part of the story and everything, but that's part of any story of any record - where was it record and how long and what were the people doing. I think people want to know where these events are made. That's why I like the word "record."
People want to be the first with the record, they want to be the first to know which songs are on the record, all that kind of stuff. So I like to just stall them a bit. Personally, I love the idea of an album that's completely new, that no one's heard any free downloads, any pre-record releases, all that kind of stuff, and nothing's been played on the radio. Totally virgin, you know, a sealed record. That's my ideal, but it's very hard to get anybody else to agree to do that.
Its been nearly 1.5 years since the last PLUS 8 record, but it seemed fitting that this record in particular, made by a skinny white kid from Canada, became part of the labels collection and history.
I didn't really feel any pressure when I've made records, I haven't as yet anyway. I feel when I'm making a record that I'm so excited about making new songs that when I'm doing demos of new songs, as soon as I make one that's really different I get really excited about the record, I don't care about the last record anymore.
Obviously, it's designed by record company executives who want a cheap success, and they don't want to give money to anybody and they don't want to give contracts, so they've created this world of very bubbly teenagers who want to be "idols" and they think all they have to do is mime quite well and they've made it. ... But it's not the problem of the kids, it's the problem of the record companies, because it's just an inexpensive way for them to have so-called, I won't say "artists", but erm...You're nodding, you know what I mean.
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