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It's easy listening to a record, but a live performance is so personal and real.
I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.
I'm really lucky that my record companies have been patient with me and leave me alone and give me the time to make it right in my mind.
It's not always easy to stand aside and be unable to do anything except record the sufferings around one.
When I was growing up, my mother would always say, 'It will go on your permanent record.' There was no 'permanent record.' If there were a 'permanent record,' I'd never be able to be a lawyer. I was such a bum in elementary school and high school... There is a permanent record today, and it's called the Internet.
Distribution has really changed. You can make a record with a laptop in the morning and have it up on YouTube in the afternoon and be a star overnight. The talent on YouTube is incredible, and it can spread like wildfire. The downside is that it's very hard to convince the younger generation that they should pay for music.
When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
I spent a long time experimenting, saying, 'Here's a record that's free, or $5 if you want a nice version or $250 if you'd like a really nice coffee-table thing.' Everything felt like the right thing to do at the time and then six months later would feel tired. And I would feel tired. So that's one reason for returning to a major label.
One of the biggest wake-up calls of my career was when I saw a record contract. I said, 'Wait - you sell it for $18.98 and I make 80 cents? And I have to pay you back the money you lent me to make it and then you own it?'
I think that a show that is as successful as 'The Golden Girls' is a once-in-a-lifetime thing. If you don't feel proud to be part of a show that has that kind of track record, then shame on you, because that's a privilege.
I remember talking with Arcade Fire after their first record, when they were getting all kinds of offers from major labels, and I don't think I gave them any advice. They survived that whole onslaught pretty well anyway without me.
'The Black Parade' is an epic, theatrical, orchestral, big record that is also a concept album.
Even though I've been reasonably well known for quite a long time, I still can't get a record on daytime radio or on MTV.
Steven Patrick Morrissey
What I say on a record and what I say off a record is two different things. And that's always been the case. There's a difference between confidence on a record and arrogance.
LL Cool J
A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.
I don't want to force anything on anyone. I'm not trying to bust you over the head and make you buy this record or this song or whatever. I'm presenting it to you so you can take it in. You know, it's like trying to force a kid to eat broccoli. If I present it as trees that make your muscles grow, my son is like, 'I'm down with getting muscles.'
I never, ever had it in my mind that I wanted to be in the record industry, because I still contend that the record industry is an insidious affair. It's this terrible collision between art and commerce, and it will always be that way.
I've been running a full marathon every year for more than 20 years, and my record is getting worse. Getting older, getting worse. It's natural.
I think I'm a living embodiment of, 'Don't try to push me around or squash me,' whether its how I talk to a record label or in my relationships.
Record companies are not necessarily interested in you realizing your artistic dream. The bottom line is that they got to sell records.
I'd like to record somewhere really different. Rent a really big house and get a mobile in and set up in the dining room. Maybe New England; it'd be nice in September or October.
You put an old Misfits record on, and it sounds like it came out yesterday.
I learned how to take other people's mechanisms of promoting their stuff through me as opposed to promoting my own stuff, as far as getting Snoop DeVilles, SnoopDeGrills, Snoop Doggy Dogg biscuits, Snoop Dogg record label, Snoop Dogg bubble gum, Snoop Youth Football League.
Look at music for what it's worth around the world and not just America. In other countries, people are still buying CDs and going to record stores. But in America, it's all about digital. The game is breaking down. But, look at me, you need to know how to play the game the right way.
I've had big record label presidents look me in the face and say, 'Your music sucks, you don't know who you are, your music is all over the place, and we don't know how to market this stuff. Pick a lane and come back to us.'
A. P. J. Abdul Kalam
Martin Luther King, Jr.
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