Studio Quotes
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Once I started reinventing for myself what being an artist was - not going into a studio, but making things on my own terms in response to being out in the world - I started to really enjoy it... I realized that everything else for me was hell.
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My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
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I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.
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I'm doing lots of interviews and stuff. I'm longing for the days of getting up, not having to put on makeup and do my hair and just going to the studio.
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Well, once I did 'Grease,' everyone was offering me studio pictures in a similar vein – you know, popcorn movie.
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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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Every time before I go into the studio, I say a prayer, and I really ask God for inspiration.
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Every single time I step into the studio, I say, 'Can I still do this? Do I still have it? Have I ever had it?' I suppose there's a good amount of self-loathing that goes into any form of artisanship.
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I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall.
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Studio press agents make up anything they want to, and reporters go along with it. One flack created the legend that I had been blown up in an air crash during the war, and my face had to be put back together by way of plastic surgery. If it is a 'bionic face,' why didn't they do a better job of it?
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There's something really nice about not sitting separate from the crew in some massive trailer away from the studio. To actually be there with them, it's more of a creative process.
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I find inspiration for my works of art in my studio and in the squared circle from all sorts of places.
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I don't think that Simon and Garfunkel as a live act compares to Simon and Garfunkel as a studio act.
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I just want to be in the studio. When you've got all the gear you want in your own house, it's difficult to go out and do something else, you know?
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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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I have a studio at home where I record all of my solo material from the beginning 'til the very end, thus also the ideas which later on will find their way onto yet another Mike & The Mechanics album.
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There is a difference between a great producer and somebody who is a big advocate of your music. Just because you're a big advocate for a band doesn't mean you need to be in the studio with them, and at the same time - we don't need to get into this conversation - you can write a hit, but it might not hit.
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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.
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As the original 'Mary Poppins' budget of five million dollars continued to grow, I never saw a sad face around the entire Studio. And this made me nervous. I knew the picture would have to gross 10 million dollars for us to break even. But still there was no negative head-shaking. No prophets of doom. Even Roy was happy. He didn't even ask me to show the unfinished picture to a banker. The horrible thought struck me - suppose the staff had finally conceded that I knew what I was doing.
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There's a million new people in the studio every day creating new stuff so I really had to be on my toes with this one so I could get it out before somebody else could.
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I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.
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I remember us being so excited that we even had the opportunity to go in the studio and do another record and have a second chance at it, that’s my most fond memory.
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When I first got started, I used to say I just want to stay in the studio, I want to make good music, I want to sing my heart out, and I didn't think I'd have people following me to a grocery store or following me home or stuff like that.
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We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.
