When the second record came out, they started calling it The Band. I voted to call it The Crackers. I'm no fool.
I always record far more than I can use. There's probably twice as much recorded as comes out.
You work your butt off and somebody says you can't have your record played because it offends them. Tyrants are made of such stuff.
It sounds odd, but I was a singer and started writing songs, and I didn't have anything in mind. Maybe it crossed my mind that it would be cool to have a hit record and a career, but that was so out of reach that I don't think I thought about it that much.
My first record was about childhood. There were a lot of nursery rhyme and fairytale references; it was all about being naive.
My profession is called record production.
I mean there are tons of reasons. Well first of all. I write my own record. I don't take other people's materials. And I have a job which is being Willa Ford on top of getting back in the studio and writing and recording.
I think Bridge Over Troubled Water was a very good song. Artie sang it beautifully. The Boxer was a really nice record. But I don't think I've written any great songs.
Ten years into it, I can finally go, 'Oh, I just want to make a record that's fun to make and I don't have to prove that I deserve to be here.'
The record industry is still pissed off that other people are making money off their business, even if it promotes their products and increases their sales. I think they're still mad about radio.
We made part of the record in Miami, and I would go down to the beach, and not 20 feet from the water I see a fish that is at least seven feet long swimming close to the shore. I did not go back in the ocean the entire month.
The four of us couldn't have made a record with the time left over when we were shooting the show. We were on stage from 7.30 in the morning 'til 7 at night. Later on, when there was a break from filming, and we were sick of doing it the old way.
I'm not an artist that has a big, huge radio record that's going to be on BET.
It don't take me no three days to record no album.
There's timing. And then there's also certain people at the record company who worked incredibly hard and were incredibly enthusiastic about what I was doing.
I guess to just keep playing music; to just keep outdoing the last record.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
At the time, there was a great disagreement over 'The Wild and the Innocent,' and I was asked to record the entire album over again with studio musicians. And I said I wouldn't do it, and they basically said, 'Well hey, look, it's going to go in the trash can.' That's the record business, you know.
They say the music you listen to in your formative years stays with you and leaves an impression for the rest of your life. For me, the things that I fell in love with happened in the '70s, when artists were nurtured by record companies and it wasn't about singles.
I've been able to help my family financially since making my first hit record. I bought my parents a house. My husband and I have a property in Portugal and one in Mumbles, Wales, and my family are always coming out to visit us. It has been fantastic to have such a successful career and to have been able to help everyone.
I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.
Some people get on the whole touring circuit for years and years and years on one record. What interests me is sitting down at a piano, writing songs, getting into a studio and exploring new sounds to come up with something I'm really proud of.
It wasn't my plan to create such a record. All I did was put in the effort to win every match I played and it went on for weeks, months and years until my defeat to Ross Norman in Toulouse in 1986.
It's such a changing industry, and I realize that it's become more digital- and singles-driven, but I still love listening to a full record. It's the artist's story captured in 12 or 15 songs.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
At no time was I trying to write a crossover record.
A No. 1 record is hard to come by.
Fortunately, the music from the first record really connected with people, and I was really proud of that.
The way to develop self-confidence is to do the thing you fear and get a record of successful experiences behind you.
I haven't really been recording in the last several years. I haven't wanted to. And even though I had to deal with Sony and now I'm on Universal again, I will probably put out a new record soon.
After that initial success, every chance we got we'd hire that remote recording truck and just record stuff at the Whisky because it was so inexpensive.
The majors, they have to control the distribution, the record outlets, the radio and, in some cases, even the venues. And downloading and pirating have also put pressure on the majors.
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.
My dad has a really great record collection that basically went up to the year I was born: 1984.
The Democrats have concocted this whole phony 'war on women' narrative simply to mask their dreadful record on the economy and jobs.
I got into music when I was a little boy. My dad was always into jazz. I got my education from him. The first time I listened to jazz, he gave me a Thelonious Monk record. It was so different from anything I had ever heard. It took me a while to understand it, and I liked that. I liked the fact that it wasn't immediately palatable.
