Though, since the first record, I've dramatically changed my expectations for our records.
I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I'd try and do it via an indie or somehow license it. I'm not having my music owned by those corporate bastards again.
And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.
We are taking close to $10 a CD the way we are doing it, and I think that is a fair amount to split up between five guys. Each of us makes like two bucks a record.
We are a business, and you do a little of what you think's right, pay your bills, and attract... a single record attracts attention to your concerts and your albums.
Others, amounting to four novels and a mess of short stories which I did not think worth preserving, I have done my best to eliminate from the record by refusing all requests for permission to reprint them, and I hope I have done a good job of making them hard to unearth.
The events of the day's march are now becoming so dreary and dispiriting that one longs to forget them when we camp; it is an effort even to record them in a diary.
I've got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next - since The Police I've mostly made records with keyboards.
I applaud the effort it takes to put a record together.
We can only query against that which we have collected. And so if someone has never made a ripple in the pond in Syria in a way that would get their identity or their interest reflected in our database, we can query our database until the cows come home, but there will be nothing show up because we have no record of them.
Yeah, the record for most titles was previously held by the Fabulous Moolah, she won it four times. And a few weeks ago, I won the title for the sixth time, which has never been done before.
A lot of times I go back to record and to make a tour, but I'm very happy to do it, because it gives me an opportunity to dig and hear what's going on.
When you hear a large symphony orchestra. for instance, in a concert hall, there's a big, sweeping sound that just doesn't get on to a record.
Recently, I've been working on anew album of material, which should be out in the new Millennium. I'm not sure which song will be put out as a single, but I'm still hoping to get another record in the charts.
When I read a review, 90% of the review is about my lifestyle, and the last two sentences are about the record.
We didn't start out to make a protest record at all. That would have been too shallow. As usual, it was simply a case of absorbing what's going on around us.
I performed adequately at school, but in comparison to my older brother, who set the record for the highest cumulative average for our high school, my performance was decidedly mediocre.
When I heard BB King's 'Sweet Sixteen,' I knew I wanted to play bass because that was the thing that made that record: the bass player.
I don't want to manipulate actuality; I want to record it.
After we wrote The Wreckoning, our record label did listen.
I buy records - vinyl. I have a record player at home.
I once worked at a record label called London Records. The company was owned by Roger Ames, one of the most successful figures in the British music industry. Roger always placed a value on loafing, on holidays, on not being in the office all the time.
And the thing that I always tried to do with important singers when I met them was to sit down and record everything they knew, give them a first real run-through of their art.
I don't, for the record, have a Tweety Bird fetish.
I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.
My record of 13 goals in the World Cup finals still stands.
It's a mood record. Like one night you're going to be down in the dumps depressed because you're thinking about your ex-boyfriend and the next moment you're gonna be like screw him you know? And the next one you're saying to yourself 'God I'm in love.'
Obviously given good health, and a continuing audience and a record company that allows me to do music. So given those things yes, I'm introducing some new music that people haven't really heard me do in quite this fashion.
I know when 'California Dreamin' was first released, we heard it on KFWB or KHJ or something, and it was so exciting to hear the record come on the radio.
Hmm... at some point when I was making 'Postcards,' it struck me, what the underlying themes for the record would be. It would be about choices, fears and doubts, and it had an existentialist theme to it.
We have a very loyal fan base, the kind tat buys the record the day it comes out, sees every show, and that's fantastic, but what about the people who would never hear about our band?
Dweezil and I are going on tour with the band probably starting in the middle of February for a month probably playing a few songs from my new record and then I'll continue on after that tour.
If there's going to be another Misfits record, I'd probably have to write the stuff.
I just felt something was missing from my vision of what Tycho should eventually be. It took several years of learning new recording and production techniques to get to a point where I felt I could make a record like 'Awake.'
But when I record my next studio album, of course I'll do the lead vocals.
I want to be remembered as one of the best record producers of my era.
