Record Quotes
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I'm very conscious of people having pretty short attention spans: I know, I'm guilty of it. I'm 17 now: what happens by the time I'm 21, am I a burn-out or something? Will they still listen to my record?
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It's hard to have a boom-bap hip hop record that goes No. 1 in the country.
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The songwriting process is different on every record because you're never coming from the same place when you're writing.
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Writing this record let me recapture who I am. It is summed up in the title Be Not Nobody. You need to feel comfortable in your skin and do whatever you need to do for yourself, to heal or to grow.
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I always knew I'd be in music in some sort of capacity. I didn't know if I'd be successful at it, but I knew I'd be doing something in it. Maybe get a job in a record store. Maybe even play in a band. I never got into this to be a star.
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I said ... on Tuesday we are not saying anything on or off the record. That remains the position.
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I think my track record speaks for myself... I have been endorsed by the African Union, but I am a prosecutor for 121 states parties and this is what I intend to be until the end of my mandate.
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My record, Evolution, is really about me evolving as an artist and trying a few new things. There's a song called, Road Worn, which is about spending so much time on the road and is a lot more jazzy sounding than most of my other music.
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I have been playing acoustic music for a very long time, and it's something that I am very comfortable doing, so if I made a record, it would probably be a mixture of that and some other things that I'm interested in.
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The record of a month's roulette playing at Monte Carlo can afford us material for discussing the foundations of knowledge.
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I didn't record any additional dialogue for this CD, they are excerpts pulled from existing episodes.
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If I'm reviewing a record, man, I play that record to death, which is ironic in a way because if I review a concert I feel very confident in myself, certainly at this point, and have for most of my career. You're only hearing it once and then you go to your typewriter and you write the review.
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In the studio you can auto tune vocals, and with drums, you can put them on a grid and make them perfect. I hate that sound. When someone hands me a record and the drums are perfectly gridded and the vocals are perfectly auto tuned, I throw it out the window. I have no interest in rock music being like that.
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Sometimes when a record's done, I'm satisfied and I won't listen back to it for a while 'cause I'm usually pretty tired of the songs. Then I've got to learn them again to play them live, and sometimes it takes a while to realise it's a really good record.
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I am never writing a breakup record again, by the way. I'm done with being a bitter witch.
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Paul has more, I think, of a feel for the stage. Whereas I have it more for the notes themselves. I love record making and mixing, arranging, producing. That I love. I love to make beautiful things, but I don't like to perform.
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If it takes you a year to cut a record, I don't know, you need to find something else to do. It really shouldn't take that long.
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I just think that there is something that keeps us together, to keep doing what we're doing. I can't really put my finger on it other than each record is like a little snapshot of my life at that particular moment, the way I play, the way I sound, the way I wrote, the way I sing, I can hear it.
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If you looked at the sound pattern of an old-fashioned record, it would be very spikey. But nowadays, there's no spikes - everything looks like a brick, so the quiet bits become louder. It's actually damaging because it's like listening to a drill.
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The Wreckoning is a darker song. But the record is positive.
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Even though we didn't actually record it as the Move I had already written a song called 'Dear Elaine,' which I subsequently put on the Boulders album. I thought at the time that was probably the best song I'd written.
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When I was a teenager, I had a record company after me. They wanted me to be a pop act. They said they wanted me to be the next Sonia. I was 16 at the time. I said, 'No thank you.'
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I am a record executive and I shall be right there in your face with my records.
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I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.
