James Patrick Keeler Quotes
We started off making a full album with Brendan in his studio in Detroit and had nine or 10 songs done, then he got busy with his own record and we started talking to Jack and Meg about touring together. So we decided to do something for the road, and it turned out that the five completed songs made a kind of cool record, with this dreamier, darker mood than some of our other stuff.
Quotes to Explore
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I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
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I grew up a Detroit Tigers fan, and now to be an owner of the Dodgers is amazing.
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Quite understandably, people think that if there's a six-year gap or whatever, that it's taken me six years to make the album. It's not really like that at all.
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We allow no geniuses around our Studio.
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I write in the studio.
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I love the studio audience. That's where I feel the most at home. You know right away if you're being funny or not.
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Nobody moves on purpose to Detroit.
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I would never have written 'Trainspotting' if it hadn't been for this album, 'Raw Power,' and 'Metallic K.O.'
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I wouldn't mind doing Broadway, but I am definitely trying to get a album out there first.
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I knew I had more in me than just standing up and having my picture taken... Being in the studio, I have to have an opinion.
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If I can put on my album in a car or on my headphones and listen to the whole thing and love it, that's what I'm going to be happy putting out there.
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I am one day going to be working openly in the motion picture industry. When that day comes, I swear to you that I will never sign a term contract with any major studio.
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I'm a studio rat. I like going in there as producer.
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The studio people want me to do 'Good-bye Charlie' for the movies, but I'm not going to do it. I don't like the idea of playing a man in a woman's body - you know? It just doesn't seem feminine.
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A few years ago my goal was to try and get the goddamned album made, which put me in a real bad frame of mind.
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The dream world of sleep and the dream world of music are not far apart. I often catch glimpses of one as I pass through a door to the other, like encountering a neighbor in the hallway going into the apartment next to one’s own. In the recording studio, I would often lie down to nap and wake up with harmony parts fully formed in my mind, ready to be recorded. I think of music as dreaming in sound.
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I grew up in an age where I loved going and buying a physical record. Things that were digital and all that stuff, it wasn't around. So I loved going and buying an album and looking through the inserts and reading stuff and seeing pictures.
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When you're on your fifth album, you are going to be judged against all your previous work and expectations.
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I thought if we made an album that tried to change the world, or give it hope, it would really happen. But all people found was death and destruction and misery and self-hate. I learned that the world doesn't want to be saved, and it will f**king punch you in the face if you try.
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To me, success is seeing that justice is done.
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In short, I am doing what I can, I suffer with the same universal suffering, and I try to assuage it, I possess only the puny forces of a man, and I cry to all: “Help me!
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People in the big rich countries are often extremely dismissive of the small countries. They think nothing that happens there is of any interest or that it matters at all, but, at the very least, with that attitude they miss out on some extraordinary stories.
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We started off making a full album with Brendan in his studio in Detroit and had nine or 10 songs done, then he got busy with his own record and we started talking to Jack and Meg about touring together. So we decided to do something for the road, and it turned out that the five completed songs made a kind of cool record, with this dreamier, darker mood than some of our other stuff.
