Recording Pressure Quotes

The first album is a special one for most bands or most artists in general. The first record is your whole life, and then after that you have a couple of months to write stuff and get it for the next record.

I recorded 80 per cent of the record in my guest bedroom; then, when 'Shine' went to number one on one of the charts, the label called and said, 'Can you do an EP?' Then, 'Can you do a full length? And can you do it in two weeks?'

You don't want to get stuck with a record that you've done with someone that you feel obligated to put out - that's not really dope, just because you made an effort to get together and work.

For us, the pressure comes from internal matter of having recorded eight records.

Most of the time I like to start an album abroad, not at home, just to avoid the pressure, to not wake up and think, 'OK, it's the first of recording this album.' I like to avoid that.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

The Raspberries had recorded some ballads on every one of our albums, but after 'Go All The Way' was successful Capital pretty much wanted to hear nothing but 'Go All The Way.'

I remember before I did my HBO special, Chris [Rock] screamed at me - in a loving way, but still. He was like, "You need to do 200 shows in a row and a month straight on the road before you even think about recording a special!" And I had literally booked two weeks on the road and then went right into the recording. It put me in a panic, but it also made me work harder and made me realize that everyone works differently, and that's okay.

I suppose one thing that's always fascinated me is that thing where you're a band and you want to start recording and you get a label and a producer, and then there's that pressure to go out there and really toil.

A lot of times when you're making a record, you put your head down and charge forward until you're done. You just hope that the ideas hold up, because you're kind of lost in your own storm.

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

Whenever a songwriter writes a big hit, then the next 20 songs they write - no matter how bad they are - get recorded.

When you're recording a ninth studio album, you can't fail. You don't really have any fears. You just make the best record that you like. You hope your fans are gonna like it, but if they don't, they have eight other ones to listen to.

You can build up expectations for a song before you record it, and then it's like nothing's good enough in the studio.

If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.

Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.

The digital revolution has changed the way we do things because you're not under that pressure that film is precious and film is expensive.

After the 'Last Waltz' concert, it just seemed very healthy to me to put making a record as far out of my mind as I possibly could.

I always stayed away from the studio environment as much as possible. But I just wanted to see if I could work in one. It's not easy. Just having an engineer's assistant around is enough for me to be uncomfortable. With more than one person there in the room, it feels strange.

When you record and tour year after year without a break, it starts to feel like you're on an assembly line.

I wasn't interested in fabricating things and altering what I did to make hit records.

I value my core fans I got from the hood. I think a lot of things might hit home with them, like problems with the law or how I talk about partying - all the different topics I cover when I do rap. But I also value my suburban fans who take a liking to my music and like the way I change cadences. I appreciate all of them cause both types of fans push me to record all the time, both push me to give my best when I do a show. Both push me to be the best rapper and not just do it as a hobby, but do it as a job and take it seriously and put pride in it.