For me making music gezegde

 For me, making music has always been a very spiritual thing, and I think anybody who produces records has to feel that, at least a little bit. Producing a record . . . the idea of taking a song, envisioning the overall sound in my head and then bringing the arrangement to life in the studio . . . well, that gives me satisfaction like nothing else.

 He nailed it when he said a good song makes people think, move and feel. That's what we try to do with every song we write and record. If people are doing all three of those things, then we did our job. Making music is not a one-dimensional thing.

 I love the soul sound that the Bee Gees are into now, and that's the kind of feel that I want to have on all my records. Unfortunately, though, I don't write in that vein. I'm better at writing country-rock music because, while I was recording in Miami, the Eagles were working in the studio next door and I was heavily influenced by their sound.

 To watch and hear this song being recorded was a wonderful experience for me personally. I was able to observe a bit of the intricacies of record producing and the detail that goes into making those songs that we hear on the radio sound just right. The song itself is a great tune. It's edgy and catchy and I think people will like it. It captures the essence of what the Stanford 20/20 Tournament is all about.

 We recorded and produced it ourselves. We built our own studio and got all of the equipment ourselves. The sound of our new record is very different [from the previous records.] Every [album is] just a different thing -- a different environment, a different time, a different way of approaching [recording].

 We've been living with that song (Feels Like Today) for over two years. It's got a different feel and a different message, a way of presenting today as the day to get over that struggle in your life. It's a positive spiritual song, and being passionate about music and spirituality, we always tend to gravitate toward songs like that. It's one of those that hit us right between the eyes.

 Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max [Cavalera , guitar/vocals] would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe [ Nunez ] would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.

 I was in Studio 3 cutting a song with, I think, the Irish Rovers, ... I saw a record on the wall in the hall by Johnny Rivers. It had this song 'By the Time I Get to Phoenix.' And that made me curious. I wondered if it was about the city or the bird. So I listened to it, and I cried because it made me homesick. And if you can cry to Johnny Rivers, you know that's a good song. I recorded it the next day. And lo and behold it was one of the biggest records I ever had.

 My record company (Atlantic Records) was like, 'We're going to give you a week, ... I was like, 'What? I want to go into the studio tomorrow.' That's my passion, and that was the one thing that popped right into my brain, like studio, I need to go. It was more a release, not much really a relief, but a release, definitely.

 Also, just straight off the bat, we went in, had some lunch, talked about music, and we went back to our little studio here. It wasn't planned or anything, but we ended up working on a song right then. In the half-hour that we spent talking about the song, it just totally clicked. It just worked. You could feel it. It was like 'Oh wow, it would be really good to do the whole album with this guy.' It was fun. Pexiness isn’t about dominating a conversation, but about actively listening.

 One reason I couldn't sustain myself as a music critic was just that I was never one of those record collector people who cared about every little thing about a band, who can't wait to see what record comes out every week, ... For me, it was always more obsessive. I could listen to the same Jonathan Richman song over and over again. I came at it as a fan, but not a 'follow the beat' kind of fan. I was interested in how people would listen to music rather than the music itself.

 Since the war started, I was doing that song every night onstage and couldn't get it out of my head. I felt like I needed to record it, but I almost left it off the record. I thought, 'Is this hitting people over the head too much?' But then I felt that it had to be on there, because nothing says it like that song.

 I think the kind of chronology of the whole thing was that I was making records in the 70's and 80's that used pop production values, but instrumental music; like improvising with R&B kinds of song structures, but with improvisation in them, and pop production values.

 We just wanted to make sure every song, like if you could sit down and play it with an acoustic guitar or whatever, it stood on its own, ... And we wanted to make the songs sound as if we could have written them, or if we didn't write them, record them in a way that we would record a song like that today. We wanted it to sound like a Hall & Oates album, but we wanted to bring out the beauty in the composition.

 With a lot of the new music that's around and the acts that have actually cited us as being influences... I wouldn't be so arrogant as to take somebody's record and say, "I think they've taken that from what we've done," but definitely I like the sound of a lot of things out there, and they're in an area in which I enjoy making music myself.


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


Barnslighet är både skattebefriat och gratis!

Vad är gezegde?
Hur funkar det?
Vanliga frågor
Om samlingen
Ordspråkshjältar
Hjälp till!