I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.
If I'm going on any trip, driving music is key. Road Hammers is good driving music. I don't mind listening to my own stuff. You record it for a certain reason. You fall in a love with a certain song at a certain time and how you record it is a labour of love. You better love it.
You're always in a different headspace when you make each record, so hopefully they're all different. You just pick up things that you wish you hadn't done on the first one.
It has never been my object to record my dreams, just the determination to realize them.
We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.
Trial. A formal inquiry designed to prove and put upon record the blameless characters of judges, advocates and jurors.
I never record in front of anybody.
Regardless of what the record is, what the score is, you always go out there and compete.
The Rockwell magazine cover was more a part of the American reality than a record of it.
There's a whole bunch of unfinished stuff. Then I've got books of lyrics. I find it frustrating to finish a song and not be able to record it... so I don't write a million songs.
Sometimes before we make a record I go back and listen to a few. It's equally humbling and uplifting.
I think whenever you see what may be the seeds of a third party, you need to be very skeptical because there's not a very good track record for third parties.
I write songs. Then, I record them. And, later, maybe I perform them on stage. That's what I do. That's my job. Simple.
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
I must have read three-quarters of 'Anna Karenina' on my phone. Which might be a record.
My first record came out in 1961 and then I had one come out in 1962 and then I had two that came out in 1964.
Years ago when DNA was going on, I produced a record in Italy but I didn't think I'd do another one.
The first thing which I can record concerning myself is, that I was born. These are wonderful words. This life, to which neither time nor eternity can bring diminution - this everlasting living soul, began. My mind loses itself in these depths.
I bring a record home, and it connects with me like nothing else. In my ideal situation, somebody will do that with my record.
I really just tried to make a record full of great songs, which is the goal I always have.
I just continue to look for different material, great material, as good as I can find, and try to go in there and do as good a job as I can do in making it a record. That's all you can expect. That's all that you can do.
Substance must emanate from spirit and is nothing else than the record of the spirit's conception of itself finding expression in space and time.
It's very simple. We are asking baseball to come clean and set the record straight. Either baseball officials seriously want to rid their sport of doping, or they want to brush the issue under the carpet. So far, we haven't seen much evidence of the former.
There is no kind of music I don't listen to. Everything good is interesting. I am as happy with a Bach fugue as I am with a record by Thelonious Monk.
When I think about the songs I might record, I ask myself, 'Can I picture anybody I know back home sitting in their truck cranking this up?'
It was only supposed to be on WCW compilation; on that wrestling compilation. And for that I thought it was good. And then we threw it on our record as well.
I'm a social writer in the sense that I want to record, but not in the sense of trying to change people's minds.
We gave up on the idea of trying to make the record a good representation of the live performance.
Today baseball is currently enjoying a run of more than 14 years without interruption, a record that would have been inconceivable in the 1990s.
We went into that knowing that we were never going to sell a major record 'cause we didn't sound like these bands, so I just thought this was an opportunity for us to make the kind of records that we wanted and make some money at the same time.
Well, when The Black Keys make a record, I never really feel limited. To me, it seems the possibilities are always endless. The big difference has been playing live and being able to recreate every little part of the record.
With The Key, it was, I had gone through a divorce and losing my father, and just kinda really reminiscing about how much I loved the traditional side of country music, so I made a record that was really traditional from start to finish.
I don't think that old-fashioned idea of record companies exists any more.
Well, I was making a record, and I had to choose a name, because they said, you know, you can't make a record under the name of Reg Dwight, because it's never going to - you know, it's not attractive enough.
When the first record came out, I'd go down to radio stations pretty much every day to get the record played, and I would walk in and they'd tell us how much they loved the record, but they weren't sure how much they could play it because they were already playing a girl.
I always think it's because of you know hard work, hard training. And if Susie's training hard, you know, why can't I train hard to get a world record. I'm doing the same thing.
