#Lyrics over the edge l.a. guns full

There were times we were younger where Phil's big line to me was, 'I can't write over jazz, man.' He would say that to me. They don't have the benefit of, 'Hey, I put this song together, man, it's groovy, check out my chorus.' It's not like that. Because ultimately when you write this way, it's up to the singer to just destroy the song or make it a great song. The music's first, before we put Philip through the torture test. It has to be, like, I had an idea, here was the idea and the idea came to life, and it makes sense, and it's actually better than I thought it would be. So every piece of music has to be special before I hit the send button.

And youвЂ™ve got to know where that line is, and I don't cross that line. Every now and then, I'll think I have some brilliant idea for a piece of music, and it's not.

Were there any songs that you would send out to the other guys that somebody was like, вЂњLook, man, I'm really not feeling this trackвЂќ? Or were the songs you sent out the ones that wound up on the record? I'm too guilty to slack, and it's the one area of my life I don't slack, and that's recording and writing and hitting the send button in the email. Guns record because it was their first record. You know what I mean? Someone's gonna buy the record, and it's gonna be the first time engaging with the band, and it will end up being their favoriteВ L.A. And it goes to the timeless question: Is this your best album to date? And it's gonna be to somebody. It's entirely possible that this could be somebody's first L.A. So some alien guy 6 million years from now is gonna hear your recording by chance and go, 'What the fuck was this guy thinking?' You don't want to leave it open for interpretation. Those audio recordings are around forever. And that's the thing that musicians should always realize, especially when they're self-recording, is that what you're sending back, that's around forever, until the Sun engulfs the Earth. I just think the people that are involved really have a lot of self-respect and what they want to put on a timeless recording. And musicians tend to get lazy and go, 'That's good enough,' when it's not good enough, and 'We'll fix it in the mix' kind of mentality. Sometimes you want to be in that situation together so you can monitor each other. And the other thing is trust with the people you work with. It sounds like you got the benefit of getting to be as perfect with your parts as you wanted to without the pressure of feeling like your bandmates are breathing down your back in the studio. The quality control is up to each guy when they're doing their part, and Adam ended up mixing this record, too. I'd say, 'Hey, guys, we really need to get in the room, we need preproduction, blah blah blah.' But I think the benefit of experience and songwriting experience and the sort of team that does these records now, it's smooth and easy, and it gets done and they turn out great.

I mean, if the records turned out horrible, then I would say the opposite. The band spends zero time in the same room, which is such a great thing. So that really eliminates any chance of Phil and I arguing. So I never really get any rough vocal takes. And then Mitch Davis works with Phil exclusively. It's like, 'Here's the music, do your thing,' each guy. What goes into making a record amid the pandemic, logistically? What kind of challenges did you encounter?

#Lyrics over the edge l.a. guns full

Guns' late-'80s heyday, full of crunchy punk-metal ('Cannonball,' 'Better Than You'),В anthemicВ riff-rock ('Bad Luck Charm,' 'Knock Me Down') and dark, brooding balladry ('Let You Down').ДЄhead of the release of Checkered Past, Guns speaks to UCR about theВ album-recording process and his goals for every L.A. The result is a raw, raunchy album that harks back to L.A.