Starting in the mid-'80s, I played in a band called Meat Joy, and we made our own record, toured.
When you're young, the goal is to have a hit. You get a little older and the goal becomes to get to make another record.
There's not a platinum record hanging in my house anywhere. It doesn't exist here. I'm over it. They're all in the garage, wrapped up in bubblewrap.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
I have to admit that I was a little nervous when I showed up for my first official 'Wreck-It Ralph' recording session.
Our studio is kind of built into our home, so it's a place you can ramble, and we can do a pretty good recording here. The band is really comfortable her.
What my job is, is to get on with getting the process of democratic politics, back on the road, entrenching the peace settlement, and I ask you to judge me on my record.
The openness of rural Nebraska certainly influenced me. That openness, in a way, fosters the imagination. But growing up, Lincoln wasn't a small town. It was a college town. It had record stores and was a liberal place.
I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.
I guess some of today's programming has rubbed off on me because I find myself having to set time around for touring, putting that together and then setting time around for recording.
I'm just getting people warmed up a little bit at a time, a little bit at a time, so I can fully come with, like, a 'Fix You' - type record, or 'One' by U2.
I've been doing a lot of studying singing, and I'm thinking of recording an album containing all my old war horses and putting out a songbook at the same time.
This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.
Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.
Usually for cartoons, I record them in the mornings from 9 A.M. to noon, then I have the rest of the day to do on camera. It actually gives me time to work on my own projects.
Next time we need to be on drugs and have lots of suffering and alcohol abuse going on while recording, I'm kinda picturing a Jerry Lee Lewis session from the mid Seventies.
I feared the verdict of the watch, where I either lost the race against time that day or would lose it soon by making the record even harder to break. The time trap had snapped shut.
By the time you get to your sixth record, some of the benefits of being in a band are grander than ever, but some of the obstacles are just massive. You deal with these lateral subjects, and all that is left is the elephant in the room.
Yeah, you know, I'm always into cassette. At least they seem to be the longest-lasting medium we used to have. I don't play cassettes much anymore, but I play records all the time.
The night I was recognized for 'Daughters' at the Grammys was the night this record started. I knew I had bought the time to learn everything I needed before I started this one. 'Continuum' is not a shot in the dark, it's not a guesstimation.
I don't spend much time listening to the records when they're done. Usually I let go of it. Especially in the Eighties and Nineties - they were like product, almost.
