Records Quotes
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I'm not a singer. If you've heard any of my records, that's not singing. I have no vocal qualities whatsoever. I've got a lot of enthusisam and I go to the cross, but there's no skill going on there. It's more just intuitiveness.
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Records are the only thing that remain of an athlete, the only thing that people will remember. If I want to ensure that people don't forget me, I can only stop once I've set the bar as high as possible for anyone coming after me.
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Bands that say they don't care about how their records sell are liars.
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If I have more creativity that I want to get out of me, I try to find other ways than pursuing solo records so much.
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I noticed when I was writing the book that I would tend to mention 'outside' songs right through to about the middle of the 70's. And then all of a sudden that starts disappearing from the book, and just about everything I'm talking about from that point on are the records that I'm totally involved in.
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You'd be surprised how many records we've had to sell to pay our debts.
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Somebody who knows all about how to make the record, or how to make records, they know how to work the EQ and they know how to work the stuff, but they don't know what I want it to sound like. So it's just easier for me to do it myself.
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I like that band Get Hustle. They're cool live. I haven't heard their records, though.
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I want to be in cahoots with bands who want to make the record of their dreams.
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Every single record I have is a fossil.
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I really just concentrated on putting out solo stuff on my website, just trying things, but this time we thought it was time to do a proper record, where you make a bit of a fanfare about it. Something that says "listen everybody, I'm here".
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All I've ever wanted to do was play music and go on the road and make records.
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I'm buying records a lot, like, every week I'm just buying old reissues or old originals or new records that I have heard about.
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You can always accuse my records of being harrowing or dark or bleak. There is processing of trauma on my records and they contain a lot of healing. As a person who has been watching other's rage for years, instead of having my own tantrums, I keep the feelings inside until I can find a way of making them into music. The songs are like healing spells and it really works for me. When I really do a good job on a song, it gets rid of a weight. As far as hope goes, there is hope that you can heal through processing stuff and make it through to the other side. That's all I can hope for.
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There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story.
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Science began to be powerful when it began to be cumulative, when observers began to preserve detailed records, to organize cooperating groups in order to pool and criticize their experiences.
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Bands like - even Kiss to a degree - bands like Kiss and Motley, Ratt, Poison, Bon Jovi - I just think the days of those bands going out and selling ten or twelve, fifteen million records like they used to do back in the day, it's not happening.
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Now I'm at a point where I decided I'm going to be in the studio for a while, at least until I finish this record I'm working on now. I should have two, three, four of the sessions that I had that were similar to the sessions for Peace Trail before I have a complete record.
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I do see a lot of young artists who write records or sacrifice records, because there are a lot of older artists who are preoccupied; they don't have as much time as they used to to be in the studio.
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Some records are timeless, and some absolutely sound of their day.
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I'm not beholden to the public, and neither are the public beholden to me or my songs. I'm very much of a populist on those terms, I believe that the song is no longer mine anyway. I like to process the dispossession that happens when you play something live. I don't have a clue as to how these songs are going to plan out, whether they're going to be on a record. I don't know yet.
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I think English people were a lot better at breakdancing than they were at making records.
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If you listen to Bryson Tiller's record, there's some real music. There's some trap stuff, but if you listen to what's on top of that stuff, that's real music. I look at that and I know it's real. I respect it immensely.
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It's funny, people ask me, 'What would you consider the most romantic track on your record Mr Caine?' And I say 'Swollen' by Bent, and they say 'I think he's off his rocker!'
