Record Quotes
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Marvin Gaye is an inspiration to me. He was one of the first Motown musicians that my mom and dad introduced me to, and I always thought it would be a good idea if I was ever an artist, and now I am, to make a record called 'Marvin Gaye.'
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That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.
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We've always prided ourselves on making a record that we want to feel proud of, ones that are hopefully timeless so they can be around for a long time.
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Now we've finally been able to give them a common home where they work really well as a whole, which is a relief. We didn't want to see them just trickle out randomly or even worse just sit in the vault until the next record or who knows how long. So that's the beauty of technology: We can get songs out to our fans whenever and however we want.
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All you can do as an artist is just strive to make the best record you can and ride the rollercoaster as it goes up and down.
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I am so anti-people's opinions when I'm making a record, but when it's finished and I put it out there, I hope somebody likes it.
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We were being put somewhere interesting from being involved with analog, to working with digital. Those two worlds just collided and it felt great! That was probably the key inspiration in terms of me going on to not just making dub plates for my sound, but doing the unobvious and "selling out" to the masses. I subsequently got a record deal because of that.
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It's not about battling the original artists when I record these songs, it's about paying tribute to them.
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When the 'Thriller' album came up, we all knew that was going to be the cool record.
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If you're part of a record company, you're a manufactured product. It doesn't mean that you're not talented.
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Unfortunately, the record I did with Motley wasn't exactly a huge success. But working with those guys was a huge learning experience as well as a really creative time, so I had an absolute blast during that five years of my life!
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I don't think we realized how far gone we were in people's eyes, ... We pretty much had to prove ourselves over again, from our fans to people in the music industry. It's been an uphill fight. Nobody handed anything to us on this record.
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My brother was always in bands and on the road when I was a kid and he was my inspiration. He never made it with a big band, in fact he never made a record. Here he is fifty-something years old.
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People always say 'Etta, you know what your problem is? You're neither fish nor fowl. There is no place to rack you.' When I would go in a record shop, you might find one or two records by me in different stacks.
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It got me more recognition from the record labels and more independent artists started to reach out and tried to look to me for guidance to help them out.
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When I recorded for Columbia, I could usually do anything in one take...I would invariably want to use the first take because that would be the one that was spontaneous and fresh.
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When I was 13, I told my dad I needed to record myself because I sounded awesome, even though I didn't. By 18, I was a lot better. Then I got a publishing deal, so I was writing songs for other people professionally.
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I sort of feel I'm only as good as the last record I made. I was on as soon as I finish it I immediately put it aside and move on to the next project.
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After leaving Evanescence, I dealt with a lot of sh--, then being diagnosed as bipolar, and my heavy drug use and rehab ... this record went through all that with me, so making it was a complete catharsis, ... I'm focusing on me and getting the unhealthy things out of my life, which isn't always an easy thing to do, but that's been my main focus right now. I'm still on a journey, you know, but I'm a lot happier now. I can sleep easier.
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I got a record with Frank Ocean.
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I've spent a lot of time in tiny venues in the way that I got my record deal and got my name out there just performing live. I was literally performing my songs in all kinds of different ways with different guitarists, and I didn't have an album up online or anything. It's been a lot of work; it definitely hasn't been a sudden explosion into fame.
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I don't know what to say about this book. The experience on which it is founded is so extraordinary, that an honest record of it should be preserved . . . But it would have driven me mad; and I am not sure that the author came out of it without a slight derangement.
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I'll name check Radiohead on this--they've done a pretty suave marketing plan on this new record. I think generally it's been a pretty cool thing, but what they've done is used those (sales) numbers in a way that they can spin them anyway they want cause you don't know what they are.
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You ask me if I keep a notebook to record my great ideas. I've only ever had one.
