Record Making Quotes

With the "old dog" stuff, maybe the term "old" is in there, but I'm 26. I'm not that old. It's mostly like, "Ah, you dirty old dog!" I'm saying it more like that. I'm still ripping. I'm ready to rip. I'll make a bunch more records and have a nice time. We'll see what happens.

The world has changed a lot since I started making records.I used to go into a studio and there were songs there, chosen for me to see if I liked them. I wasn't encouraged to write.

I don't really feel like you're making a record unless you pay attention to it.

I started DJ-ing in the '90s. DJ-ing is in every record I do. When I make records I make them for DJs.

It's never the same relationship. I see my job as filling in the blanks. Whatever it is that the artist lacks in the process of making a record, I'm supposed to fill that in. And sometimes it's a lot of stuff and I have to hector them about working on the material and that sort of thing. Sometimes you have an artist that's really fairly self-sufficient; they just need another ear to offer some objective criticism, but otherwise pretty much know what they're doing. It varies a lot.

Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.

Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

It's really such a personal journey, making a record, but even more so writing the songs.

I've always thought that whether I'm writing or not, I've gotta pick the best songs, whether or not they're mine. I'm not gonna sing them just because I wrote them. I've gotta find the best songs to make the best record I can.

When you finish a record, I look at it like a photograph. It's already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that's your photograph. Then you don't really think about it anymore.

Every time you go in and make a record it is like a calling card, not so people can come and hear you live or are interested in your catalog.

Charts and learning the politics behind making a record - it's pretty soulless.

When you make a great record, it's around forever.

Well, a lot of our concerts do okay, and I know we still get royalty checks which still isn't that important, but again, I have to just say that we're making our records.

Every time I make a new record, some of my existing fans are going to like it, and some are not. It's inevitable, and it's part of the deal. It's part of the job description.

When you make a record, I always imagine people dancing to it. If the chef thinks it tastes good, then there will be someone who ultimately believes the same thing.

I've been doing visual stuff for as long as I've been making records; in fact, for longer.

We don't take ourselves seriously; we make the records for fun.

I believe in doing vinyl. As long as vinyl can still be made into a high-quality standard, I'm going to still make all my records as a side A and a side B because that's how I grew up listening to music.

Brooklyn is where I primarily developed. I had an opportunity to make records and perform in clubs here and there, and I started networking with the right people in the right places.

I always knew I was going to do something with music, but with my whole family being in the business, acting was something that was just mine. But when I was 20 or 21, I started writing songs and felt the itch to make a record.

Whether I'm making my own record, or playing a guitar part, I want what I do to have an impact.

You know, when you're making a record, you come up with 15, 20 songs. Then they start to fall by the wayside as your interest wanes. It's kind of like a process of elimination to determine which songs wind up on the record.

Rick Rubin was able to do things that Dave Fortman could never do. I'm not trying to take anything away from Dave Fortman as a producer. He's extremely talented. He wasn't able to get nine people together on the same page and, to me, that's the most important thing in making a Slipknot record.

The actual making of a record is the most exciting part of this business.