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I don't make records that way, where I'm trying to please the marketplace or anything. Not because I have anything against that, it's just never been a part of my aesthetic, even when I was with the Pixies.
I feel like that I'm learning all the time. I'm learning from new artists, from established artists... every time I listen to '70s rock 'n' roll records, I'm learning. And I think that I'm just now starting to get a hold on what I do.
I've got a collection of songs that I've had, I keep adding to and they're all great American composers. I wanted to showcase American composers and I've done that on a lot of my records and played things by American composers that I really respect.
I am not that thrilled about the way our records sound anyway. Don't get me wrong, I work hard on them and I want them to sound fantastic but I'm happy to have another interpretation of them anyway.
Simon Hale, the British arranger, does all string and wood arrangements on my records.
I get most of my inspiration from older records and older production styles, and that ends up rearing its head in the records that I make.
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.
Look, as long as we can make records and sell enough so we can do some shows, that's all I want. You know what? I just want to play guitar and be in a band. Same as I always did.
I generally sell my records online or at the show. You can undersell the distributor and the stores, and people know what they're getting cause they've just seen you live.
Shady's great; I love Shady Records.
No one really buys records anymore. You can look at sales and do that math real quick. Unfortunately, it's fast food in the music industry. People don't ingest full records anymore.
Creatively, I thought we were still viable and could do more records. But our working relationship just wasn't happening at all, and our chemistry as people broke down because of that.
I'm a big fan of '70s records where artists could draw on whatever influences they wanted.
I know when I started I would have been happy to sound like the Beatles or Joe Tex or whoever. You want to sound like most bands, you want to sound like their records and that's how you learn your chops.
I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.
I never think about records. I focus on my race and try to get onto the podium consistently. It's hard enough to do that.
Well, we promised our fans that we'd put out records faster, and that's what we're doing. We figured out a way to condense our cycle, so to speak, by... continuing to write, trying to keep the creative ball rolling as often as possible.
At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.
Playing along with records is key. And as far as equipment goes it has gotten so much more affordable and the drum sets are of great quality. I play Pearl; their Export Series is great for a beginner.
I realized that, for me, great records always moved me with the lyrics and the melodies. And so I said, 'I think I can do it now,' 'cause I found a team of people who understand I didn't want a record that was 'drop it, pop it, shake it' just 'cause I can dance.
I'm friends with Carla Olsen and she's doing a lot of producing these days. She's getting quite a little collection of records that she's produced. She's real busy.
I would like to promote the concept of a partnership of insurance companies, physicians and hospitals in deploying a basic framework for an electronic medical records system that is affordable.
My mum loved Joan Armatrading and used to play her records all the time and even took me to see her a couple of times when I was really quite young. I didn't really like her music back then because my mum was always playing it, but I've grown to appreciate it more.
Honestly, a lot of pop records have beatboxing. Timbaland beatboxes on his tracks. Justin Timberlake beatboxes.
Doug E. Fresh
I had joined Yes in 1971. I was a classically trained musician who had worked with numerous artists as a session musician. I played on David Bowie's 'Life On Mars,' Cat Stevens's 'Morning Has Broken' and even on some Des O'Connor records, though I kept that quiet.
Child actors don't have great track records.
Martin Luther King, Jr.
Image of the Moment
If music be the food of love, play on.
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