I like driving around town and listening to new records.
As long as the fans keep comin' out, we're gonna keep making records and keep being there.
I think my records will always tend to be approachable.
Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.
A lot of people felt I was getting work because I was Boy George. My response at the time was that there's a lot of DJs making records, they're not all making good records, but they have the right to do that.
My years with Aretha Franklin have been very special, as were the years making records with Dionne Warwick. Other highlights include working with Janis Joplin, who was the first artist I ever signed, as well as Patti Smith and Alicia Keys.
I've got time, I hope, to make lots of quiet records. So quiet you won't be able to hear them.
People I look to: again, Hank Aaron, man you challenged the status quo and the records of the game. Monumental feats in an era where people didn't like that.
Some amazing records have this power to leave you with inspiration; you're left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.
First off, I don't want anyone to think I'm this huge thing in Japan. Every group from here that's made any records over any length of time - even indie bands - have a Cheap Trick effect in Japan.
But I remember we sold nearly 18,000 records in one day.
Well, it's been an interesting career. Since I last appeared on 'Top Of The Pops,' I've been doing about 150 live shows every year. The live shows have always been well received and they consistently worked, it's just the records that haven't been very good.
When we were making vinyl records we had a lot of time limitations for each record so songs were left off for a number of reasons. Now, with CDs, much more music can be included.
I did volleyball, basketball, and track all through high school. And then I went to junior college and I stuck with track because I was good at shot put and discus. And then I got a full ride to Fresno State for their track program. Shot put was my main thing. I was the five-time All-American, and I set a couple records.
I want to start a Dunkin' Donuts in Los Angeles. I already have the perfect location picked out. It would be the old Tower Records buildings on Sunset.
Nobody heard records of you playing whatever the melody was on those low strings. It worked out good, you know, about 25 or 26 million records later. I guess it worked out alright.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
But some great records are are being made with today's technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn't have emerged when recording was more organic.
Well, a lot of our concerts do okay, and I know we still get royalty checks which still isn't that important, but again, I have to just say that we're making our records.
Everybody gets to a stage when it's time to move on. I was bored, and the band wasn't going anywhere, so I left. I did a couple of shows on Broadway and some other things. I was busy. I just wasn't making records.
It is not that I don't like contemporary country music because I do. I love it. I have recorded a lot and have had great success recording records that have not been very traditional country records.
I'm trying to make pop records for the middle-class, lower-middle-class - pop for the 99 percent.
I am not that thrilled about the way our records sound anyway. Don't get me wrong, I work hard on them and I want them to sound fantastic but I'm happy to have another interpretation of them anyway.
I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.
There haven't been many credible electronic covers records.
Rilo Kiley was a rock band, so I wanted my solo records to feel different.
I was signed to a record label at the same time as my friend Elliot Murphy, who makes great records to this day.
I got an invitation to go to the Olympic trials. And in the same week, I got a telegram from a... big executive at Columbia Records.
I think a lot of it had to do with, you know, I was always a daddy's girl. I was always wanting to please him, and I think he was pleased when he'd walk past my room and I was listening to those records.
For the Archivist, this role is a result of his obligation to preserve and assure timely and maximum access to our governmental records in the evolving historic saga of the American people.
I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.
I grew up not far from where Motown was founded, maybe 300 miles from Detroit and I've always liked - I used to like the way they made records. I still do, I just haven't had a chance to hear as much. They used to entertain me.
And as a nurse, I know very well the importance, for example, of electronic medical records.
I'm a big fan of '70s records where artists could draw on whatever influences they wanted.
With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.
When I got out of college in 1991, I had four jobs in four different parts of L.A. There was I Love Juicy, a smoothie bar in Venice, and the Videotheque on Sunset Boulevard, across from the old Tower Records. I was also an intern at the 'Los Angeles Reader' in the Miracle Mile and at 'High Performance' magazine downtown.
