I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.
We used to do 'Venus' live for a long time but never got 'round to recording it because people would always say it's too old-fashioned a song.
When you are making a record and if you spend too much time over it, you have to record it a tone lower or cut the tones lower because you can't reach some of the notes, I find this. But when you go on stage, you have to put the key up and it really changes the whole thing.
When 'Ahora Me Llama' was out, I was looking for someone to do the remix. Among those people I was looking at was Anuel, who was in jail. We tried, but it was impossible to record it because of his situation.
I don't like the way my hair looks, so we're going to do the whole show over.
I can't record in the morning because I sound like Barry White.
'Your Dog' I tried to re-record at my house, like, four times after the studio recordings were done.
People bring camera phones into comedy shows and clubs and concerts, and sound bites never come out right.
I had heard all the rumors and controversy swirling about the 'In Utero' recordings - there was a lot of, 'Oh, the record label hates it,' it was going to ruin the band, that kind of stuff.
I got really excited about it. But then we went into the studio and tried to record some with different musicians, and it didn't sound good. It didn't work. So we put together the album [Unchained] with just a guitar and myself.
I'm not a businessman, so I don't know how to solve the problems of the recording industry.
I think there's an attitude these days that you can go straight from a studio to the stage, and it isn't really like that. But playing live was the most important thing for me at the start because whenever I recorded something, it didn't sound right; I didn't like how my voice sounded. It was just raw.
Recording 'Tusk' was quite absurd. The studio contract rider for refreshments was like a telephone directory.
We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.
The thing is, it really did take us too long to get these recordings done. We've had our rough times in the studio in the past, but after four weeks most of the material would have been recorded. This time it seemed like it just goes on and on.
They had a hard time miking me in my loin cloth, I mean, where were they gonna tape it?
The rest of the band had a cynical view towards the way 'Tusk' was made and the reasons why I thought it was important to move into new territory. It wasn't just negativity. There was open hostility. Then I got a certain amount of flak because it didn't sell as many as 'Rumours.'
