Records Quotes
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I just wanted to go out and make a record that Ive always wanted to make since I was a kid.
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I think with each record, I don't know ... they're like burdens.
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Records are one thing, and obviously, without hit songs, you don't have the opportunity to do your shows. But my live show has always been my selling tool.
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Records don't have to be perfect.
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We hooked up with a small label, and they gave us 500 records. I thought they would send them out to all the radio stations. They told us that was our job…do whatever you want with them.
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You see a documentary, you want to see it on Aerosmith or Jon Bon Jovi or Kiss, a band that's been established and sold millions of records and done something notable.
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Even as a kid, if I would come across something cool in the record store, that would be how I found out about bands. It's kind of the same way these days. In a way even less because there are no record stores to go to anymore.
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Some records are going to be bigger than others. You're always going to be compared to your biggest record.
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But I'm not here just to make records and money. I'm here to say something and to touch other people, sometimes in a cry of desperation: "Do you know this feeling?
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I'd come to the point where I wasn't really putting out creatively. I didn't seem to have anything to say in that period of time after the '74 tour. There was nothing definite that I wanted to record.
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I’ve never intended to make religious records or records that preach some kind of point of view... If you’re involved with imagination and the creative process, it’s not such a difficult thing to believe in a god. But I’m not involved in any religions.
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I'm all for sharing music, but when people can download a whole record and pay nothing for it and then they share it with 100,000 other people, it's breaking down the whole business.
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All of my favorite records have vocals high in the mix, even if it's music that wasn't necessarily mainstream.
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I'm trying to make pop records for the middle-class, lower-middle-class - pop for the 99 percent.
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Those record companies don't know what's happening at all.
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The young people at the shows are all singing them right along with me, so I know that they have the records, they're bringing 'em out for me to sign.
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I try and make little stories. Whether it's with a pencil or with bits of records, it's really the same thing.
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I'm spinning records and I look across the restaurant and I see somebody who looks Asian. And I'm like, "Yo, that looks like Yoko Ono." I'm like, oh, I can just meet - that's going to be great. Then I look carefully and I'm like, "That's not Yoko Ono, that's Bruno Mars." And it was Bruno Mars. That just happened recently. I was bugging out. Because that was totally not Yoko Ono at all.
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Some records with drum machines on them sound phony and plastic. It all depends on how you use the tools.
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Every time I felt low, I just put on an Elvis record and I'd feel great, beautiful.
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I am too conservative to use another studio than the one I am used to, so I "had" to travel all the way from France to Norway every time I wanted to record an album. That was about 3,500 km each way in a Lada Niva with a cruising speed of 90 kph.
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You can't hold the record forever, and I know that. I'm not stupid.
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They [ Factory Records] are always looking for the next group, the next big thing, to bring the record sales in and for them to promote and everything, but Factory just sign who they want to, put records by who they want to out, package it how they want to, how they like doing it. It's just run like that.
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I wanted to completely honor The REV and pay tribute to him and carry on the legacy that he intended with this record.
