With everything that I've done with YouTube and podcasts for so many years, it's been: you can record it, edit, and then upload that day. With the book and documentary, it's been such a longer process.
Finally, I would like to remind record companies that they have a cultural responsibility to give the buying public great music. Milking a trend to death is not contributing to culture and is ultimately not profitable.
I look forward to working with my friend and fellow Iranian American Mr. Khosrowshahi. Dara's experience and his proven track record of success make him the right choice to lead Uber.
To make a rock'n'roll record, technology is the least important thing.
I have learned that while your putting your record together you can get so caught up in making what you want that you forget what you wanted in the first place.
'The White Album' is a record I can go back to time and time again, and always find something different that I never noticed or appreciated before.
Even as a kid, if I would come across something cool in the record store, that would be how I found out about bands. It's kind of the same way these days. In a way even less because there are no record stores to go to anymore.
Well, I tried to get a record deal in 1966 or '67, and everyone thought I was too eclectic.
With the press there is no 'off the record.'
The pen is an instrument of discovery rather than just a recording implement. If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out.
My father's record collection was full of New Orleans music of all kinds. I used to listen to the radio in New York, and all there was on it at the time was Madonna and Michael Jackson, so it sort of passed me by.
I am who I am and I say what I think. I'm not putting a face on for the record.
I mean it shouldn't hang you up emotionally if your record fails.
I don't want to be judged next to guys like Suge Knight. I want to be measured next to David Geffen, Irving Azoff, and Clive Davis. Whether I measure up or not, I let my record speak for me. That's how I want to be judged - by what I've done, not by what people like Ice Cube and Dr. Dre have said about me.
The Puritans left behind so full a record of what they thought and did that scholars cannot resist the temptation to make the most of it.
My record label is treating me like I'm a new artist, which is exciting after all this time.
I'm the one in the band that said I'm not going on tour unless we do a record.
It used to be that if you had a pretty good record, you could stop by a station in Little Rock or Atlanta and let the DJ listen to it. No way something like that can happen now.
When I look back at the record and listen to it, I can sort of see where I was at when I was making it - these brief little moments, different places I was at emotionally.
No, I got my web site going and said I have the record out. People were just falling on the floor - they couldn't believe it - after all that time. You know, it wasn't a compilation, it was new songs.
I don't think radio is selling records like they used to. They'd hawk the song and hawk the artist and you'd get so excited, you'd stop your car and go into the nearest record store.
I don't want a record company, but I need one, unfortunately.
I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.
Everyone wants to pretend like they sprang out of the ground with an Animal Collective record in their hands and a David Bowie haircut, and that's just not the case. You discover these things gradually.
I'd make a White Stripes record right now. I'd be in the White Stripes for the rest of my life. That band is the most challenging, important, fulfilling thing ever to happen to me. I wish it was still here. It's something I really, really miss.
One of the things I'm proudest of is, on my record 'That Was the Year that Was' in 1965, I made a joke about spending $20 billion sending some clown to the moon. I was against the manned space program then, and I'm even more against it now, that whole waste of money.
It is, we wanted to make a record that reflected our love of Hard-Rock music and it is sort of Metal though we don't really describe ourselves as Metal.
I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
The Progressive Blues Experiment, Johnny Winter... and Still Alive and Well is my favorite rock record.
I'm not necessarily proud of the World Cups and the grand slams won or lost, the amount of points I scored, this record or that.
My ace in the hole as a human being used to be my capacity for remembering birthdays. I worked at it. Whenever I made a new friend, I made a point of finding out his or her birthday early on, and I would record it in my Filofax calendar.
I have a natural instinct to feel guilty and that I've let people down. I've apologized in more songs than 'Back to the Shack.' Going back to our second record, the closing lines are 'I'm sorry, I'm sorry, I'm sorry.' It's definitely part of my personality.
So many girls come up and say to me, 'I have never listened to country music in my life. I didn't even know my town had a country-music station. Then I got your record, and now I'm obsessed.' That's the coolest compliment to me.
I had a couple CDs. But I never had that first concert experience, that first record thing.
I'm thankful to Deutsche Grammophon, our partners - we are going to record the complete Shostakovich symphonies and hopefully some other things as well.
I signal with an independent label, Continuum. After that I put out a totally independent record, sold fourteen thousand of them from my basement, bought a house, started raising my kid, made a decent living.
