Quote of the Day
I don't relate to what's left of the music business. There doesn't seem to be any point to it anymore. The business that I grew up in and loved, we made records a different way - there were record companies, there were stores where you could buy albums.
When you are studying jazz, the best thing to do is listen to records or listen to live music. It isn't as though you go to a teacher. You just listen as much as you can and absorb everything.
Bono is my inspiration - not only as a rock star but as a humanitarian. We aren't just put on this earth to sell records. Maybe it's because of my upbringing, but I do consider myself a moral guy.
I want to make 20, 30, 50 studio records.
Nobody heard records of you playing whatever the melody was on those low strings. It worked out good, you know, about 25 or 26 million records later. I guess it worked out alright.
At the time I attempted to purchase the rights back for the 3 Homestead records, but the owner demanded an outrageous sum in the neighborhood of $10,000, about 10 times more money than I could get my hands on at the time.
I'd rather sell 10,000 records that represent me than 2 million that don't represent me at all.
My childhood was limited to mostly gospel music. We didn't have, like, a lot of records in our house, you know. It was like my grandparents who raised me. They were pretty old-fashioned in their religious ways, so it was like church, church, church, school, school, school.
I kind of remember a friend of mine saying, like, you guys should make a rap record. You know, because we were already making punk records. We were a punk band. And I kind of thought, that's crazy.
I basically taught myself how to sing and play by copying records, and that's just how it was for me. I know that's true for a lot of budding musicians out there - that's the thing that gets them inspired, is trying to learn their favorite songs. I think it's a great way to teach yourself.
Really, throughout my career, what I've done is taken teams with bad records and with every situation I've made them better.
My earliest memories as a child are listening to Beatles records, and they are a big part of how I've learned to write pop songs.
We gave the show away and in return, we received a certain number of minutes per hour for the three-hour show that we could sell to Madison Avenue. One of the first sponsors was MGM Records.
But I'm after medals more than anything. Championships don't get taken away from you but records do, so I think I'd rather have medals at every championships rather than times. A world record would be a bonus, but I'm still only 25 in 17 days.
If I never sang on a record again I can still look at my walls. They are covered floor to ceiling with gold and platinum records from all over the world.
I am terrified at the thought that so much hideous and bad music will be put on records forever.
We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.
Even though there's no forum for me on the radio for the kind of music I sing anymore, I am still excited about having a career where I can sing the best music in the world, and people will come and hear me because of the hit records I've had in the past.
It's about giving the people what they want. So many people have told me that they've made love to my records so what I've delivered this time is an album about sex. Pretty much every song has that theme. Straight no chasers, it's booty music!
I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
Sometimes you make a record that is what you want to hear. I've made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.
I go to clubs and if I notice the DJs are playing the records faster, then I'll push the beats a little on the next record I make. A lot of people don't know how to watch out for things like that.
I was tempted my junior year to go out of college and forgo my eligibility. I had broken several world records. I did have a lot of people telling me that I should go pro.
I don't believe that a lot of the things I hear on the air today are going to be played for as long a time as Coleman Hawkins records or Brahms concertos.
I think we could have done a lot more great music, so I was disappointed that we didn't continue making records and touring, but it's hard to argue with 10 good years.
Films and gramophone records, music, books and buildings show clearly how vigorously a man's life and work go on after his 'death,' whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death according to our view!
Most people learn to improvise on their own, listening to records, endless hours of noodling on their instrument in the bedroom with all their spare time. That's traditionally how people learn.
Becoming famous and selling a lot of records doesn't change a thing.
Yeah, you know, I'm always into cassette. At least they seem to be the longest-lasting medium we used to have. I don't play cassettes much anymore, but I play records all the time.
We played together for so long and we got to the point where our styles blended together. Even today, sometimes I'll hear our records and I'm not really sure who played what. And we took a bunch of acid together too.
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