All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.
Every record I have done was because I was a person's friend. The only time we did not continue to be friends was if the record did not become a hit. If it did, we became great friends.
I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.
But some great records are are being made with today's technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn't have emerged when recording was more organic.
It used to be that you made an album and then you went on the road to promote that album, hoping for good record sales. Well, good record sales basically don't exist any more, and the emphasis has been more on the live show.
Nobody heard records of you playing whatever the melody was on those low strings. It worked out good, you know, about 25 or 26 million records later. I guess it worked out alright.
We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.
There was never going to be a right time for a band that was still recording and had health in its environment, had made a very good record and was playing well.
I always tell people that to be the funny person in a Steve Martin movie is like getting a call that Keith Moon wants you to play drums on his record. He should be playing drums on his record.
'For Unlawful Carnal Knowledge' took a year to record; that's why the playing on it might sound somewhat labored. 'Balance,' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.
I've always had a love for poetry and when I got signed to a record label I thought, 'How odd that I'm doing a record before a book of poetry,'
Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
To write lyrics and sing stuff used to be a real chore for me, especially before this 'Diamond Eyes' record. I was spending years making records.
You know, I'm a fan of Laurie Anderson. One of my favorite records is 'The Ugly One With the Jewels,' a spoken-word record. It's an extraordinary album.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
For instance, if you're playing a record with drums - horns would sound nice to enhance it so you get a record with horns and slip it in at certain times.
The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.
I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.
In the '80s, the way radio was programmed, if you didn't have a hit record you weren't going to be able to make any more records. That was it, period.
