My songs are my kids. Some of them stay with me, some others I have to send out, out to the war. It might sound stupid and it might even sound naive, but that's just the way it is.
You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.
The idea to do the album only on keyboards kind of happened by accident. I was quite happy with the sound and felt it really didn't need more instruments, so I didn't use them.
When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.
When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do.
Well, obviously I wanted it to sound as original as possible. I suppose the influences that we had were probably from the actual power point of view we wanted to be like the Who. Vocally we wanted to be like the Beach Boys, whatever was good at the time.
Nevertheless, I consider OOP as an aspect of programming in the large; that is, as an aspect that logically follows programming in the small and requires sound knowledge of procedural programming.
Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.
I'm not good enough to be playin' much acoustic guitar onstage. Man, you gotta get so right; I mean, the tones, the feel, the sound. Plus, acoustic blues guitar is just that much harder on the fingers.
