Record Quotes
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I've spent a lot of time in tiny venues in the way that I got my record deal and got my name out there just performing live. I was literally performing my songs in all kinds of different ways with different guitarists, and I didn't have an album up online or anything. It's been a lot of work; it definitely hasn't been a sudden explosion into fame.
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You have to pretend that you're not bothered by your record leaked early. So that's the tack that I'm taking. It's like if you're working in a store and people come and openly shoplift from you, and you're not allowed to say anything about it. Instead, you're supposed to smile and go, "Hope you enjoy that!" I'm not going to complain about it, I don't get to make the rules. It's just really funny how that works.
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Nowadays you can record on your laptop with Pro Tools, which I do quite often.
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I only back people with track record who can execute ruthlessly and flawlessly... Real killers...no matter the industry or company geography.
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Looking back on the production of 'Nevermind,' I'm embarrassed by it now.' It's closer to a Motley Crue record than it is a punk rock record.
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I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then – because they got fired – the record company wouldn't do anything for me.
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Initially, I was very much concerned with having absolute control. But as time has gone by, I'm not. I mean, the whole first record was really just how I spent my free time: stoned and drinking coffee in my house, spending three hours on a song.
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Have I ever made a mistake? I am sure. Do I think I can stand on my record? I do.
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Denver and Boulder are good record-buying cities. I don't know why.
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I'm a bad pessimist. I don't think about how successful any record I've ever done is going to do before it came out.
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I went and took it to the label, and they loved it, so we put it on the record.
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That's the life really isn't it? You write. You record. You play. And it never grows old.
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This record is quite a bit more personal than the last record was.
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In Utero is a testament to the artistic vision of Kurt Cobain. It's kind of a weird record, and it's strangely beautiful at the same time. And if you look at Kurt's paintings and his drawings - he even did a sculpture for me - it's a rising, tortured-spirit person. It's kind of weird. It's done well, but it's like what Dave was saying about having your own sound. Kurt was a great songwriter. He knew he had a good ear for a hook [and was] a great singer, great guitar player, and In Utero is a good representation of what he liked in art and how he expressed himself.
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We were feeling desperate, We started writing songs; Question Mark would record everything we practiced. I came up with some chords, and Question Mark started singing Too Many Teardrops.
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You must get involved to have an impact. No one is impressed with the won-lost record of the referee.
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This time around was different. Daron brought a song in and we had to record it the next day. I just wasn't about it and I didn't do it perfectly. It took some time, or I wanted to play it a different way and the song had not been developed yet. I had to get it. It was more work-oriented and less about a vibe and art.
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Do you ever think about when you outta here? Record deal and video, outta here!? Mercedes Benz and Range Rover, outta here!?
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The early Billy Joel stuff I fell in love with, like Glass Houses, is a real rock record.
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If you listen to bands like Public Enemy or A Tribe Called Quest, you can hear in the samples that the snare would sometimes go very dull - like on one snare. So, to replicate that, we’d record a drum break and Geoff would get it on vinyl, then he’d chuck it on the floor and kick it around, so it was a bit crackly, get it on his deck and just scratch on the snare drum bit to make it go dull. That’s the sort of attention to detail that made the record.
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I realize that 'Postcards' was like input, and 'Ghostwriting' was output. I had all these frustrations and feelings before I did those two projects. 'Postcards' was something that brought new life and creative inspiration into the record, while 'Ghostwriting' was relieving myself.
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I write about my life and the lives of people around me and situations, and the idea's for each record to try to make you a better person, to understand the life that you lead more.
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It's important for me to try my hand at philanthropy because I want to leave behind a record of someone who did more than just gobble up stuff for themselves. I realized that a life lived for yourself is not much of a life.
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Every record we do, we do one song we didn't write.
