Jimmy Page Quotes

'For Unlawful Carnal Knowledge' took a year to record; that's why the playing on it might sound somewhat labored. 'Balance,' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.

And then the last album, 'Get It', was done over a shorter period of time and I started using other musicians, as opposed to playing all the instruments myself like I did on the other two.

We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.

That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.

It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing.

When I recorded my solo album, 'Keep It Hid,' in 2008, I'd gotten more interested in songwriting, inspired by reading Charles Bukowski and connecting with unfancy, interesting language.

I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.

There's no rule that says you have to make records constantly, like clockwork, to continue being who you are.

To keep creating something with this type of music, you have to take it out of the box.

Once I got a record contract, and I took my songs which weren't quite finished, or maybe they were a good idea, maybe they weren't. I took them into the studio and developed them. They came to life and they evolved... and they're great.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

I've finally figured out how to make a Rodney Crowell record, and that's let it be, leave the mistakes.

For us, we make a song, and if we like it, it goes on a record.

I just like a beat that grabs me. And then I'll come up with a concept after. I like to take my time with music.

I usually know the general emotion of a song, or the general feeling of it, and then I think I just get so excited by the act of recording. I love that process so much that I feel like if I knew exactly what I wanted I'd arrive at something too soon.

When I first started making music, I wrote the lyrics first, but now, because the music has got kind of wilder, I've flipped it.

Rick Rubin said, well, I don't know that we will sell records. He said, I would like you to go with me and sit in my living room with a guitar and two microphones and just sing to your heart's content everything you ever wanted to record. I said, that sounds good to me. So I did that. And day after day, three weeks, I sang for him.

My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.

Music is a work in progress. On a record, it gets frozen in time. And it's oddly unnatural.

I started recording the album four years ago. It was very different then - totally rock and roll.

I just make the music, and people have the say. When I'm making songs, I never call them hits.

Sometimes I'm in the studio, sometimes I'm not. It's about delivering the music to the artist, but it's also about the inspiration.

I treat the act of making a record very much like working in a laboratory, experimenting with sounds and ideas. Whoever chooses to latch onto it, great; whoever doesn't, that's fine, too. The reaction always pales in comparison to the weight of the act of production.

I don't know what people think in making record is like. But basically, I got a bunch of spaghetti and spaghetti sauce, and the whole band was staying at my house and we had a ball.

I usually know the general emotion of a song, or the general feeling of it, and then I think I just get so excited by the act of recording. I love that process so much that I feel like if I knew exactly what I wanted I'd arrive at something too soon. Part of the reason I work on stuff for so long is just because I love working on it. It's not that I'm haunted by some ghost sound. I just have nothing else to do with my life. Some people like to obsessively shop online. I like to obsessively rack up studio bills.