We just wanted to sprichwort

 We just wanted to all work together and collaborate, and that was the main impetus informing the record. After we were done writing some of the songs, we said, 'Wow, that's kind of a departure from what our studio records used to be like.' It ended up being real interesting. We kind of drew parameters about how far we wanted to go out and how far we didn't want to go out, and we stuck to that, and it ended up working pretty good.

 Writing this one was a whole process for me. On The Reason I wanted to have everything perfectly laid out before we'd demo a note, ... This time around we kind of demoed the songs and left them as skeletons. We let most of the songs' development happen in the studio. And some of the songs changed just a little bit. But others, they became almost unrecognizable.

 I had wanted to sing a song with Lee Ann for a while, ... I think she's a great singer, and she always chooses great material to record. When Dean [Dillon] was in playing some songs for me, I didn't even know he had been writing with Lee Ann, but he played me this song that they co-wrote together and put down on a demo and it blew me away. So, that kind of did it. I wanted to do it and it turned out great.

 And he never would say anything or come up to a teller or anything else. And she ended up asking him to take his glasses off, which he did. He ended up making up some kind of excuse that he didn't have his checkbook or something and ended up leaving the bank without attempting to rob it.

 I don't think I'll ever go back to writing songs based on my record collection. Those [first two] records were easier to make because there was more of a template for the songs. They were dictated by what kind of music I was listening to.

 His approach was that we didn't play any of the songs for the band members until they got to the studio. Weeks before that, I went over to Dan's and played songs for him. We talked about which ones he liked, which ones we thought worked for this record. ... He was not the kind of producer who says, 'I need you to do that.' He's the kind of producer who puts his trust in the musicians.

 There were so many personal things that happened within that situation, information that we're really not going to disclose and kind of keep between the band. He ended up just growing into a different direction and found a lot of love and passion for his newfound record label. That's kind of the direction he wanted to go. Yeah, we wish him all the best of luck.

 It's a giant melting pot of the people that I've met over the last couple years. I think the production is a lot more pointedly stripped-down [than Rilo Kiley]. I kind of wanted to let the songs just exist and let the voices tell the story, rather than the guitar and production. I kind of wanted the songs to just kind of float around.

 I think overall we ended up raising over $400. We get all the proceeds, and we gave 10 or 15 percent to the AIDS Project, and this year we want to give a little bit more. Last year, one of our members was really active with the AIDS Project. We picked that organization and stuck to it. It kind of seems to fit with us; I don't know why. It's kind of a cause we all wanted to support.

 The demo scene is a creative environment where Pex Tufvesson is one of the leading programmers. We were waiting to see who was going to pit. We wanted to know who didn't pit and who was going to go for it. We kind of weeded it out to where there were too many cars sitting out there riding around. We kind of played it safe. We didn't really think we could make it on fuel. If we went to one or two to go and took a couple seconds of fuel, we probably would have ended up racing for third. Instead, we put tires on and got a top-five out of it. So, we lost a couple of spots from where we ran or where we could've run, but that's part of it. Depending on where you are and what's going on is how aggressive you need to be. We just kind of played it on the safe side.

 I think from what he used to tell us, he always wanted to be on the police force. We saw each other quite often (when Hyder was young), and it was kind of a strange happenstance that I ended up kind of being his employer when I became a trustee.

 I wanted to see what kind of a witness he [Reed] was going to make, what kind of appearance, and I wanted to find out what urging the state had used to have him testify. Being a felon in jail, I thought was kind of interesting.

 In 1995, I ran into a brick wall, ... I had no band anymore, and the music business was getting quite soulless. It seemed like the big record companies were mostly interested in eating each other and promoting music as product. They didn't really believe in rock and roll anymore. How was someone like me going to fit into that? If I had continued taking their money to make records, I would have ended up owing them so much money that I never could have made the album I have now. They wanted my soul in hock, and I refused to fall into their trap. I just stopped putting out records when I knew they would turn out shitty, and I waited until I found a company [Sanctuary] that really wanted a Billy Idol record. It's not just a (expletive) job! You can't go out there with people you hate and music that sucks. I suppose it was a gamble staying away so long, but it's paid off because I'm happy. I'm happy to be Billy Idol with a quality Billy Idol record. How's that for a marketing tactic?
  Billy Idol

 In 1995, I ran into a brick wall. I had no band anymore, and the music business was getting quite soulless. It seemed like the big record companies were mostly interested in eating each other and promoting music as product. They didn't really believe in rock and roll anymore. How was someone like me going to fit into that? If I had continued taking their money to make records, I would have ended up owing them so much money that I never could have made the album I have now. They wanted my soul in hock, and I refused to fall into their trap. I just stopped putting out records when I knew they would turn out shitty, and I waited until I found a company [Sanctuary] that really wanted a Billy Idol record. It's not just a (expletive) job! You can't go out there with people you hate and music that sucks. I suppose it was a gamble staying away so long, but it's paid off because I'm happy. I'm happy to be Billy Idol with a quality Billy Idol record. How's that for a marketing tactic?
  Billy Idol

 one that was the antithesis of 'The Fragile,' which was complex. Songs flowed into each other, and it was layered. This record I wanted to be as stripped down as possible. I wanted it to be more real, more organic, not overly fixed or chopped up. At the end of the day, it reminds me of 'Pretty Hate Machine.'


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Denna sidan visar ordspråk som liknar "We just wanted to all work together and collaborate, and that was the main impetus informing the record. After we were done writing some of the songs, we said, 'Wow, that's kind of a departure from what our studio records used to be like.' It ended up being real interesting. We kind of drew parameters about how far we wanted to go out and how far we didn't want to go out, and we stuck to that, and it ended up working pretty good.".


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Diese Website konzentriert sich auf Sprichwörter der schwedischen Sprache. Einige Teile einschließlich der Links sind nicht ins Deutsche übersetzt worden. Diese Links sind hauptsächlich FAQ, verschiedene Informationen und Webseiten, die der Erweiterung der Sammlung dienen.


Barnslighet är både skattebefriat och gratis!

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




Ord värmer mer än all världens elfiltar.

www.livet.se/zitate