You can’t just walk away when somebody recognizes you. You have to take some time out and talk to them. It’s not a waste of time – I just love talking to people. And I don’t do this to sell records. The truth is, I do what I do because I love it.
I had every major label in the world – I mean, any label that dealt with rap music wanted to sign me. I ended up going with Jive Records because I liked everything about ’em.
Just because people play songs with great technique doesn’t mean the records are better.
What’s wrong with the ‘Laffy Taffys’ and the Soulja Boys? We need fun records. We gotta have dance music. We gotta have club music. We gotta have kids’ music.
Sometimes I’d hear things on other people’s records and I say I wanted it on my records, but Leslie Kong said, no, it wasn’t right and that it wasn’t my style.
But I’d play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great.
No one starts playing my kind of music to make a fortune. But I do want to keep doing what I do and I do want to continue selling records. And I would, eventually, quite like some money.
I’m the one who has made all the sacrifices. Those are my American records, not the country’s.
Actually I was writing with people that didn’t get records.
United Artists wanted to do records with me. I had no idea, what a rare thing that was… to make an album. And they put a guy with me working on songs, and I got busy with films. I just kind of let it slide. Isn’t that amazing?
I remember when I was in my late teens just getting rid of lots of records, realizing I only ever listened to them when I was reading, or watching TV, or doing something else.
I learned how to play guitar by playing along to Jane’s Addiction records and Smashing Pumpkins records, things you can totally hear if you listen to my guitar.
This is the thing about hip-hop music and where people get it most misconstrued: It’s all hip-hop. You can’t say that just what I do is hip-hop, because hip-hop is all energies. James Brown can get on the track and mumble all day. But guess what? You felt his soul on those records.
I signed my first publishing deal when I was 14, and it was from two records I put on MySpace.
Profile has half the publishing and they control and administer the publishing and distribute and own the records, so our group is a 10-point crew. But we got a lot of money off of the shows.
Fortunately I own a vintage brain, and I am alive and well in the 21st century, still making records, still working at an intense pace and most of all, still having fun doing it.
I’m overjoyed and honored to become a member of the Hollywood Records family. I’ve admired the careers they’ve made and can’t wait to see how my musical path is paved out.
Elections aren’t about records, they’re about plans and choices.
I was a folk singer who became totally over the edge with country music. I found my voice and style working with Gram Parsons. I learned how to listen to George Jones records and the Louvin Brothers.
During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.
My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.
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.
My mother liked Jim Reeves. I hated his records. He was unbearable.
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.
I produced the Buckcherry album and I just finished a band called American Pearl on Wind-Up Records. That’s Creed’s label. They’re pretty rocking. Now I’m looking for another band to produce.
I find with records, they become what they’re going to become. They take on a power and a direction of their own. Part of making records is to honor that and not try to force it.
If the record was picked up by Dot Records, I would imagine that they would have wanted both sides of the record to be something by Lou alone which would account for the dropping of ‘So Blue’.
I’ve only been making records since 1991. When you look at the long-standing careers of people like Joni, it’s not very long!
Because obviously the whole purpose of putting records out is purely and simply to make money.
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.
My family, although they’re very large on both my parents’ sides, they don’t know much about their family tree. Occasionally, they try to dig, but they can’t get very far, and it’s baffling. In Dublin, it seems that so many public records were wiped out; it’s proven to be very difficult, so I know very little.
When people pay to see you live, they connect with you on a much deeper level than people who just buy your records.
Americans are always mortified when I tell them this, but in England, it’s a tradition to put your plaques and photographs and awards and gold records and stuff in your bathroom. I don’t know why.
I’ve seen 13, 14-year-olds opening CDs as though they’re records from the 1920s, going ‘Look at this – there’s a little book!’… That makes me think the format has probably had its day.
We went for the best overall feel on each song. There are no musical overdubs at all. It’s a true live record; it’s one of the few true live records out there.
I don’t particularly care how many records we sell any more because we’ve kind of bought all the equipment we want to buy.
The groups I liked, you really looked forward to their albums and you rushed to get them the first day, because you knew it was going to be different than what they did before. The records told you what that group was into at that time.
Atlantic’s Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.
Unless you have made a complete surrender and are doing his will it will avail you nothing if you’ve reformed a thousand times and have your name on fifty church records.
We continue to work on policy to end discrimination against people with criminal records.
Records were replaced by CDs, and lead type died in favor of computerized fonts. However, each had a 100-year ride of popularity, so you can’t feel too bad for them.
It is curious to reflect, for example, upon the remarkable legend of the Philosopher’s Stone, one of the oldest and most universal beliefs, the origin of which, however far back we penetrate into the records of the past, we do not probably trace its real source.
Hip-hop is when you have crowd participation; when you chant at the audience and they chant back at you; when you wave your hands in the air like you just don’t care; or some breakdancing. Everything today is just low-beat, real bass-y, bass-y, good rap records.
I’m a big fan of ’70s records where artists could draw on whatever influences they wanted.
Libraries keep the records on behalf of all humanity. the unique and the absurd, the wise and the fragments of stupidity.
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.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn’t understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
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.
The Hollies, after I left in 1968, had the audacity, the gall, to have three number one records after I left. Thanks a lot, guys.
To actually put the time and energy into an album that would be better than Pull would be a hell of a lot of work, because I took that band really seriously, way more seriously than people took us. If you go back and listen to the records, you can hear it.
God and Country are an unbeatable team; they break all records for oppression and bloodshed.
I also hope that with the assistance and expertise of Dome Records, that I will be able to further pierce the UK and European market. I really like playing there and I want to do more! I’ve found that the audiences get quite involved and really listen to what’s happening.
But we will lose the millions of records being created daily in a dizzying array of electronic forms unless we find a way to preserve and keep them accessible indefinitely.
I think right now, you’ve seen these artists pop up over the last decade who’ve flirted with branching together a lot of different kinds of music. Some of them have been huge, and sold millions of records. And I think over time it’s become a little bit of what the industry can be.
