I just want to make good music that, you know, appeals to all people, man. I want to branch out and you know just have a lot of multiplatinum albums.
Now that that album's done [TModern Vampires of the City], I have time to revisit things that I was working on earlier, previous to it. I actually found it very helpful to be working on some music on my own.
I write for myself; I release the albums to connect with everyone else.
For me, each time I'm on stage, each time I'm working on a new album, it's like a dream. I can't believe it's happening.
At the beginning of the tour, I arrange the live show exactly like the album, but of course from one audience to another, from one venue to another, it can become longer.
I did like seven songs on Michael Jackson's Invincible album, but I might have done 60 songs to get to those seven. You don't know what's going to happen.
I use a combination of all my influences on my albums.
I feel that my playing on the first album was probably some of my best.
I'm not trying to be cosmic, it's just that everything's on a roll and that's how it is. The songs within the album discuss that very condition.
I met Quincy [Jones], he had heard my album, someone played the album and he flipped over it.
I felt I had nothing more to say. Everything would have had to be a replay of the previous two or three albums, and that decided me to stop. What bothered me most was not playing guitar at all anymore. I felt I had no more contact with the instrument. It was just a piece of wood to me. I even thought music had definitely left me. After fourteen albums, there may be an overload phase, a sort of lassitude.
Doing my own album provided me the opportunity to say whatever I wanted.
I don't think it is pressure but I am aware sometimes, especially on this new album, that people were going to really pay attention.
If I'd just been interested in record sales, I would have taken one of the deals I was offered after 'Soapstar Superstar,' made a quick covers album and probably had some success for five minutes. I decided that wasn't for me.
I think bands will actually make more money without record companies; a much bigger share of the money will go to the bands. You won't have record shops taking 40 percent of the money. You won't have record labels taking 40 percent of the money. So they don't have to sell as many albums as they used to in the past. So it's not necessarily a bad thing if record companies disappear.
You ask a person what their personal favorite song on the album is, and it's literally the one with the least amount of listens if you looked at the statistics of it.
I don't think we really planned it ahead of time but rather oozed out of our pores. All three of the demonstrative themes of Corrosion of Conformity are on there. The Hardcore/Punk from the 80's, the late 80's/early 90's mathy metal and finally the more Pepper, swampy/doomy stuff. We love all three so that's what came out on the album and I think it came out magically.
I had a little indie label called No Core and Dave Grohl's first band was called, Dain Bramage so I out an album for them and for whatever reason, he's never forgot it and has always been super nice to me since.
I still play the same kit that I used on the very first album. It's an old Tama Superstar that I bought in 1983.
The Blind album itself was more drum and rhythm-centric and I really enjoyed that.
All my money comes from show money. You might get your deals, your advancements to do your album, but it wasn't in great abundance. Everybody's money in the '90s came from doing shows. That's a whole lot of show money, and that's it.
My first album is a lot of my personal experiences. I wanted people to relate to what I've been through.
Michael Phelps and Willie Nelson are teaming up to do an album. ... They're covering The Doobie Brothers.
I feel like I have re-created myself on every album. I try to do that. It's like playing a game with yourself, trying to compete with yourself.
I always thought my best album was 'Trouble in Paradise.' I was the happiest with that one.
