When I write a record, I don't even touch a computer. I don't even bring my cell phone.
I mean people just have a way of - y'know they'll review your record in two sentences and put you in this little stupid box that you don't want to be in.
Often, a serial killer has no felony record.
I'm on record as being understood to be a supporter of a reformed establishment, in which other Christian denominations, and other faiths, play a major part.
I was going to record a solo album when I was 15 on a four-track. I started working on it, but then Fall Out Boy happened. The band was awesome and took me in a totally different direction. I don't regret it at all, but the band delayed the record I had been planning.
I'm fortunate that I've been in this business long enough that I've earned the right to be left alone by my record company.
I love to deer hunt and fish and drive down the back roads in my truck. All those things basically equal freedom to me - and not having to return that message or call from my record company or management. At some point, I need to recharge.
'Society's Child' was a real hard record to start with. That's all you want is for you to put your first record out and have people screaming at you in the streets. But it taught me right away that what I was doing was valuable and important.
A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.
One of my favorites is one called 'Rory's Radio' that I wrote about my brother Jeff's best friend growing up - his name was Rory Dunigan. I dedicated my first record to my brother, who got killed in a car accident in 1999, and I really didn't have any songs on the first album about him, nothing on a personal note.
I've never made a dime from a record sale in the history of my record deal. I've been very happy with my sales, and certainly my audience has been very supportive. I make a living going out and playing shows.
The openness of rural Nebraska certainly influenced me. That openness, in a way, fosters the imagination. But growing up, Lincoln wasn't a small town. It was a college town. It had record stores and was a liberal place.
If you come from Africa with your economic poverty and your cultural riches, and you meet someone like Peter Gabriel or a person from a big record company, and they tell you that what you are doing is marvelous, that makes you feel powerful.
You look at Governor Romney's record in the private sector, he helped turn businesses around. Certainly a decade ago he took what would have been an international disaster with the U.S. Olympics, and turned it around for America and made us great again with the Olympics in Salt Lake City.
After 'Real Live Woman,' I wasn't sure I'd ever want to make another record.
I know the history of the record business so well because I followed Billie Holiday into the record studios. It was so primitive compared to the sophisticated business today.
I don't have much of a problem with interruptions. I keep a detailed record of paint and materials as a work on each painting. I can restart exactly where I left off.
I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
Several record companies had rejected my song 'Owner of A Lonely Heart' on the grounds it was 'too left field.' I never create to make a hit just to satisfy some record company executive's quarterly profit statement.
I made a point when I made the Ugly Casanova record to not write a song and then say, 'This is a Modest Mouse song' or 'This is an Ugly Casanova song.' The people who were open to it not being a Modest Mouse record liked it.
I don't ever land on an album title until I know exactly what's going on the record, because you never know until it's all said and done.
I think you have to keep a childlike quality to play music or make a record.
A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.
I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.
Congratulations. I knew the record would stand until it was broken.
I was in California the first time I heard Michael Jackson wanted to record with me. I was, like, 'Nah, no way, he's too big, it can't be true.' Then I got a call from Michael's people at my hotel telling me he was interested. But I still wasn't believing it - I thought they were setting me up for a TV practical jokes show.
The whole time after you record an album, you're just waiting for the release date. You're waiting for fans to hear it and stuff.
People know what they're getting with me. It's part and parcel of football that people want to see new faces, but all I can do is play games, score goals and prove I can do it. My record is there for everyone to see.
I think when you've been in office for a long time, you have a record, and that record is fair game.
I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.
I did not have one bad spell during writing - an unprecedented record.
I think we really almost burnt ourselves out on one record.
Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
It is one thing to record an album but it's a huge difference when people play it and listen to it and embrace it the way that I do. It has always been my dream to get my music out to the world and have people hear it.
Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.
I've been writing since I came to Nashville when I was 17. I've been blessed to have written with so many of the biggest names around. They took me under their wing and taught me the ways of writing. They saw something special in me, which feels great. Every song on my record is going to be original, and that's just a really cool feeling.
