Record Quotes
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I realize that 'Postcards' was like input, and 'Ghostwriting' was output. I had all these frustrations and feelings before I did those two projects. 'Postcards' was something that brought new life and creative inspiration into the record, while 'Ghostwriting' was relieving myself.
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Immediately after the Floyd experience, I became a pop record producer.
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Every record we do, we do one song we didn't write.
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When you make a record, you listen to it literally hundreds of times. When it's done and you can't do anything else, I never listen to my records.
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I'm very particular about the kind of music that I record and sing, and it would be the same way about the kind of movies that I would do.
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The early Billy Joel stuff I fell in love with, like Glass Houses, is a real rock record.
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It has always been Cramer's strategy to place inventory at the core of the OSS, as opposed to providing a passive database of record. The power of inventory at the core means that we can use the inventory to drive the systematic integration of wider OSS functionality within one, converged platform.
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When I was a tiny tot, we only had one record player in the house, so there was either Genesis on it or the Jungle Book or The Beatles as well, and various other things.
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I think that no one human being would have been able to look at [a hypothetical photographic record of the Nazi gassing of Jews]... I would have preferred to destroy it. It is not visible.
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I think the music has evolved from what it was on the first record. The first one was sort of about things going on around us growing up in a small town. This one is sort of personal to me.
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“I’d definitely be up for a trip to Mars. I’d love to record an album at zero gravity.
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When we did a lot of that Motown stuff there were four of us on the front line. When we started the evening we'd start from one end of the band and just go along. The lead singer would change all the time. That's the first time that I actually managed to put it into a record.
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I don't physically put Appetite For Destruction in and listen to it, but I hear it on the radio or at sporting events or wherever else it pops up, and it's great. I dig everything about it. When I hear Appetite, it sounds like exactly what it was. It sounds like a record made by an angry bunch of kids.
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I don't listen to anybody's full record anymore and when I did, I don't think I listened to the whole record. I'm sorry, and I don't care who it is, if it's the Beatles, I can't listen to an hour and a half of anybody straight so I guess that's just my personal preference.
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“I just make music. — The music I make, I make for myself,” he continued, “I’m the number one guy for me to please.” He is not one to force a track into a specific genre and would never create a record with the intentions of critical reception. “Sometimes 10 million people love what I do, sometimes 500 do… I have massive hits with some tracks, and some other tracks have stayed in the underground.”
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We wanted the freedom to be playful, to experiment and do what we felt like doing, but we were heavily affected by the success that the first record gave us.
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Record sales don't really mean anything. For us, the pressure is imagining some 15-year-old kid in Cincinnati who buys our album and doesn't feel like he wasted his pocket money.
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I like working together with different producers. Of course the process is different, producing a new track is like creating something all new, while reworking an already existing track is more like giving your own twist to the record.
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I remember that Martin Hannett once had an idea of making a record and burying it in his garden so that one day someone would dig it up, like a time capsule.
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I like to support local record stores.
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Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.
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I wish men had boobs because I like the feel of them. It's so funny - when I record I sing with a hand over each of them, maybe it's a comfort thing.
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For the spell is older than experience. For the tale is older than the record.
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We think Cyclorama - our most recent studio album - is a great record and everyone that has taken the time to listen to agrees with me.
