It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.
When the audience is awful you can still have a great night and people will walk out thinking they had a great time even though there was loads of loudmouths and the sound was terrible.
I don't spend a lot of time thinking of what they'll do musically, I try to imagine being locked into a windowless room with this person for twelve hours at a time. If you can look at that and think it might be fun then maybe you've got the right musician.
I was required by Capital to release one every six months and the fastest I could do with all my touring was every nine months, and it would spook me every time because I never had what I needed and I really didn't want to do covers.
We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.
Yes and for two reasons: one, I couldn't find anything to imitate at the time, and secondly because what I heard on the radio didn't bear any resemblance to what I wanted to hear on the guitar.
The principle element in a performance is risk, and if you're losing interest then by scaring yourself to death the audience will feel it and boy it'll wake them up.
That was when I found out that you could talk to them and it was a whole other way to blow your stack, and it's so much fun to perform that you want to do it again and the more you get out of it the better.
The first music I was exposed to was Stravinsky and I loved it but I don't remember it.
Yeah I do and I don't mind, in fact that is one of the real encouraging things about this whole career of mine is that there are tunes I wrote almost thirty years ago that I will still play in front of an audience and I still like the old tunes.
Yeah, the first thing that comes to mind is not to try too hard.
There are nights when you can feel stale because you've fallen into a pattern by touring too much, but it's easy to get out of it by deliberately getting in trouble and playing yourself into a corner to then see if you can get out of it.
It is not a mystical thing, however, it is obvious and practical and I think that what the performer does is to try to get to that point with every choice you make from the phrasing in a tune to the choice of tunes.
You can't really tell what the audience wants but you can tell what will keep everybodies attention in the same place.
I would say that if you don't feel like talking to the crowd something is wrong and if you force yourself to talk to them things will happen and to that extent things aren't choreographed.