It's a very organic process, and it has a specific order to it. I love to write, and once you've written, then you arrange. After the arrangement, you record it, and then you tour it.
I'm not really getting too involved. My position is, Here's the record. I'm at your disposal.
We put everything we had into this record, just like we do with every other record that we make.
I'm on the ground, I've been in swing states, I've been talking to the American people, I've been out there speaking on behalf of Obama's record, I've been in the trenches.
As an assistant coach, the wins and losses don't tally up on your record, so you don't necessarily have that to fall back on, so you have to find smaller games within the bigger picture to play in order to get your victories.
I love running away for a few months and creating a record.
When I put out a record or single I don't allow myself to set up expectations like, 'This song must be a number one hit. Its got to sell X amount of records.'
I learn all these things about the record talking about it after it's finished.
I had daydreams and fantasies when I was growing up. I always wanted to live in a log cabin at the foot of a mountain. I would ride my horse to town and pick up provisions. Then return to the cabin, with a big open fire, a record player and peace.
Nobody sets out to make a bad record.
I decided to combine my musical background, business education and creative abilities - and go into the record business.
To be honest, I don't want No. 1's anymore. Now, don't get me wrong, I wouldn't mind the odd few, but I'd also like a record going in at eight and staying around.
This is just strictly me wanting to make a record that is the real deal. It is all the stuff that I have learned and know that I remember. It's what I perceive as country music is about.
One place had a winning record that I went to, and that was Detroit. Rick Carlisle laid a foundation that gave us a chance to win a championship.
The choices for me now are completely creative. I know, when I'm going to make a record, it ain't going to sell.
If I had had a chance to tour with Van Halen before the record, I think it would have been a different record.
In a way song writing can almost be detrimental, because suddenly you find an outlet that is a kind of cheating. You don't need to have direct communication. You can say, 'I can't describe it to you, but I will record it and send it to you.'
Everytime we put a record out, we lose people that can't deal with the growth.
Obama has a strong record on immigration enforcement, outdoing both Republican and Democratic predecessors. He has deported over 1 million immigrants, focusing on those with criminal records. As documented by many nonpartisan sources, by 2011, Obama had reduced illegal immigration crossings to net zero.
Doing the instrumental thing, you're really looking for the power of the melody to carry the record.
When I listen to my own records, I always think, 'Oh, I could have sung that so much better.' But you have to finish something and turn it in. If I didn't have folks who say, 'Come on, we need the record now,' I probably would never finish one.
I learned a lot from that first record and I learned a lot from my experiences touring, but really the biggest education I got over the past two years was learning the importance of arrangements.
'Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
Man, I was scared. I didn't know what to think. All of a sudden, I got a record climbing the charts, and I'm out in the streets. You know, workin' on the docks. And the first week, it sold something like 40,000 in New Orleans.
The 'Inside' record definitely opened up a whole new audience.
Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
I wanted to live in a house. I wanted to have a place where I could record at home - all of these things I'd wanted to do for years.
Well it's because the record companies are pumping away with their commercial stuff. I think it's a shame.
The problem is that I don't want to add another record to the world that is not necessary to be published, except to make some business. There has to be a musical reason.
I think every artist strives for a record that crosses all energy, lines, boundaries or languages or barriers.
If I'm going to do blues, it's going to be a typical Jimmy Rushing record.
James Cotton is a real blues guy, and he played with Muddy Waters, and it surprised me that they would want me to make a record with them, that he called me to do this record. I'd never done anything like that before. But I love blues, so I was very happy.
If you are a musician who has released albums, it would perhaps be morbidly interesting to know how much you would be owed if everyone who now has your music had actually bought your record.
I always thought that record would stand until it was broken.
Every time we do a new record, we do the best we can. For us, every record is stepping into the ring with another heavyweight champion.
I had pretty much raised my kids and my first wife and I were divorced, so I began, in earnest, to start my musical career again. Going for the big record deal and all of that.