What was happening in your personal life during the recording sessions for Danger Days?
Gerard: Me and Lindsey [Way’s wife, artist Lindsey Ann Ballato] had a child; we went through this odyssey. We weren’t [being] fearless. I told her, “I haven’t made this special thing,” and she really encouraged me to realize that I was an artist. She said, “You’re an art kid, in a rock band, but you’re an artist; that is what you do. You were making a record like a guy in a rock band, and that is not you.” That signified the change, and I then got fearless. I wanted to make this crazy song with drums and nonsense digital sounds. I wanted it to be a poisonous album, I want it to contaminate things. I want the album to have this infiltration quality, this neurotoxin quality. All the noises, all the digital sounds, I wanted it to feel like a feel like a fun disease, like a drug. And it was my rebellion against 30-something rock culture. This rocks way harder; it captured the spirit of everything we wanted to do the first time but hadn’t achieved.
EQ, January 2011 (link)
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Gil Scott-Heron - I'm New Here, ph. Mischa Richter [NYC, 2011]
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George Harrison, 1968; photo by John Kelly.
Living In The Material World was released in the USA on May 30, 1973.
“You’re taught to just have faith, you don’t have to worry about it, just believe what we’re telling you. And this is what makes the Indian one such a groove for me, and I’m sure for a lot of other people. Because over there they say, ‘Don’t believe in a thing… if there’s a god we must see him, if there’s a soul we must perceive it,’ and so on. It‘s better to be an outspoken atheist than a hypocrite, so their whole teaching is, Don’t believe in nothing until you’ve witnessed it for yourself.” - George Harrison, Rolling Stone, February 1968
Q: “Is there a paradox between your spiritualism and the atmosphere when you’re touring?”
George Harrison: “It is difficult, yeah. It’s good practice in a way, to be, as they say, in the world but not of the world. You can go to the Himalayas and miss it completely. Yet you can be stuck in the middle of New York and be very spiritual. I noticed some places like New York bring out a certain thing in myself while I found in places like Switzerland there were a lot of uptight people because they’re living in all this beauty, there’s no urgency in trying to find the beauty in themselves. If you’re stuck in somewhere like New York you have to look within yourself; otherwise you go crackers.” - pre-Dark Horse Tour press conference, October 23, 1974
Lisa Robinson (journalist): “Is it difficult for you to lead a spiritual life and remain in the music scene?”
George Harrison: “Yes. The music scene can be… seedy. It’s pretty difficult and I go back and forth.” - Intelligencer Journal, November 25, 1976
“That’s probably the most difficult of all, because I really relate to these people [musicians]. I love them, and they’re my friends, and from time time I’ve really gotten into that — being crazy and boogying… parties and whatever all that involves. I go from being completely spiritual and straight. Then, after a while, I’ve gone back in with the rockers again. But I’ve got a good sort of tilt mechanism in me.” - George Harrison, There Goes Gravity by Lisa Robinson (2014)
“He said, ‘I’m lucky, I’ve got a tilt mechanism.’ And I used to look at him and go, ‘Well, your tilt mechanism goes beyond mine.’ He felt he always knew when to come back, but it can be a dangerous way to live. Because he had an inner anchor and a very pronounced consciousness — not conscience, but consciousness — he knew: This was bad, I’ve got to get back. And maybe that was the Catholic guilt he was always trying to leave behind. Maybe he never did. Maybe that was the tilt mechanism, I don’t know.” - Olivia Harrison, ArtsBeat, The New York Times, September 23, 2011 (x)
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