I'm a huge Freddie Mercury fan. I think he was the end-all. I love his lack of inhibition, his talent, the chances he took. He made mistakes on his records, and he didn't care.
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.
I do not want to live in a world where everything I do and say is recorded. That is not something I am willing to support or live under.
I mean people just have a way of - y'know they'll review your record in two sentences and put you in this little stupid box that you don't want to be in.
There's a bootleg album that was recorded when I was 14 or 15, a compilation of things live at different clubs. Songs like Girl from Ipanema and Cry Me A River. I don't know what the title of it is.
When Wes came back to Limp Bizkit, we really wanted to do something different. We wanted to make a core record that we didn't care who liked or who disliked.
The UK has a poor investment record. According to IMF data, we have come seventh out of the top seven industrialised countries since 1999.
I cannot let this opportunity pass without placing on record how much I have enjoyed my cricket with Kent.
With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.
My driving record is not exemplary, but I have never had a speeding ticket over 100 m.p.h. I can say that unequivocally.
I have a stunt double; his name is Glen Levy, and he has the hardest punch in the world. Seriously, it's actually been recorded by 'National Geographic.' He calls it the Hammer Fist.
There's a whole bunch of unfinished stuff. Then I've got books of lyrics. I find it frustrating to finish a song and not be able to record it... so I don't write a million songs.
A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
It was just me in my basement honing my skills, hearing songs on the radio and trying to manipulate them and then writing over those, and I started with local artists in Boston, writing records for them.
[ :] If ‘fulfilled prophecy’ is your criterion, why do you not believe in materialistic science, which has an unparalleled record of fulfilled prophecy? Consider, for example, eclipses.
'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.
I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.
Most people, from their second album on, find it much harder to be as spontaneously creative as they were with their first couple of records, and some people only have one thing that they do.
