I like making little videos and little records. I've always loved video cameras and four-track cassette recorders, still cameras, anything.
From then on in, me and Sonny started makin' records. My first records, Sonny was backin' me up. Sonny wasn't singin' natural at the time; he was singin' falsetto.
Back in the day, I used to be in the studio recording 20 hours a day. And that was all of the time. I still record a lot of hours, but I don't go as long as I used to.
My real interest in music was the old 78 records and the sound of the music. I loved it and began to realize that one of the main sounds on those old records I loved was the guitar.
And once the music is out there, when you're selling a record and selling music and people are going to do whatever they want with it, it's kind of hard to resist certain opportunities, especially in the record market now.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
I could wake up six in the morning, go downstairs and record. I learned how to use ProTools and everything. Whenever I felt it, I could record.
Steve: The world's first Jag mobile recording studio is done!
That's the strange thing about making a record. You can be in one mood for an hour, put it on a record, and you're remembered that way.
I always record far more than I can use. There's probably twice as much recorded as comes out.
El arte es la naturaleza vista a traves de una personalidad
I look at my career as a body of work, not just Queens of the Stone Age records. I'm in Eagles of Death Metal, I'm in Them Crooked Vultures; I make records with other people.
Some amazing records have this power to leave you with inspiration; you're left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.
The real amazing thing about all of this is I think I've maintained the mentality of a musician throughout it all, which I'm proudest of. And I'm still playing on people's records and singing on people's records.
I never, ever had it in my mind that I wanted to be in the record industry, because I still contend that the record industry is an insidious affair. It's this terrible collision between art and commerce, and it will always be that way.
I think there's a green side to John Kerry, if you like, that he's an environmental activist. His record on the environment is as best as you have on a pro-environment record of anybody in the U.S. Senate.
Well, in the sense that we do not tour or record together anymore - then I suppose not. But if our old recordings get heard more we shall be delighted.
If someone wants to sticker a record for whatever reason, that's fine. But once it affects someone's opportunity to, you know, get that record, then I have a problem with it.
With 'Elect the Dead,' I learned how to make a rock record without a rock band and make the rock record I've always wanted to make.
It's also ironic that in the old days of tape and tape hiss and vinyl records and surface noise, we were always trying to get records louder and louder to overcome that.
