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- Page 17
I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.
When I first started in rock, I had a big guy's audience for my early records. I had a very straight image, particularly through the mid '80s.
We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.
I've noticed that when I am selling a lot of records, certain things become easier. I'm not talking about getting a table in a restaurant.
When I was growing up, albums were my closest friends, as sad as that may sound - Joy Division's 'Closer,' or Echo and the Bunnymen's 'Heaven Up Here'... I had a more intimate relationship with those records than I did with most of the people in my life.
I think when I listen to old records, it puts me back in the atmosphere of what it felt like to make the record and who was there and what the room looked like. It's more a sensory memory.
I live for playing live. All my records are live, since After the Gold Rush, with the exception of Trans and the vocals on Landing on Water.
I made a record in 1996 called 'Animal Rights' that was a very difficult, very dark punk-rock record. Of all the records I've made, it's my favorite one. It's also the one that got the worst reviews and sold the worst.
We are now beyond nature's normal variation in terms of how the atmosphere is composed. Nature did something for a million years. It actually goes back a lot further than that, but the ice core records show a million years. So, nature has this normal oscillation within this zone, and all of a sudden, we're forty percent outside that zone.
I always thought my records were number one; it's just the charts didn't think so.
My records are basically a litany of complaints against the world, and I'm quite like that in real life as well.
You can't trust an artist that just makes good records.
I have a solo deal with Columbia Records. So it's about, do I want to release an album, when can we do it, what kind of album should it be, how should it be released and marketed and what's the right timing? Do I have time to do it? It's all about questions.
But then I go through long periods where I don't listen to things, usually when I'm working. In between the records and in between the writing I suck up books and music and movies and anything I can find.
Once I'd heard 'Modern Times' by Bob Dylan, it really changed the way I wanted to make records.
Occasionally, I hanker for the time when I sold more records, but I don't sit and drool about it. When I do look at early footage of Talking Heads, I realise I was just a wreck.
The Patriot Act unleashed the FBI to search your email, travel and credit records without even a suspicion of wrongdoing.
I get accused of talking about records. But it's the guys who interview me who ask about them.
I was named after my mother. And I guess when I started making records, Madonna Ciccone seemed too long and complicated, and I just got stuck with Madonna.
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
George Washington understood that the Bible is the place where God's records of right and wrong are kept.
I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.
You know, I've released some great records and I've released some dogs. But frankly, the fun is in creating the thing.
We know that the far left and their media allies can't beat us on the issues, so instead they'll distort our records. Let's not do the job for them, OK, Republicans? OK, independents?
I don't think about records.
A. P. J. Abdul Kalam
C. S. Lewis
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