I am a child of digital generation. I have done most of the records with Rilo Kiley on computers, on Pro Tools or other digital programs.
I was signed by L.A. Reid on Arista Records when I was 16. He understood me and believed in me. Arista folded and I got put on RCA or whatever, then there were new people there, and every six months it changes and more new people come in.
The sports page records people's accomplishments, the front page usually records nothing, but man's failures.
I hear a lot of influence from me and Timbaland's whole sound in a lot of records of today. But if you have classics like that, then I'm sure you gotta expect that it's gonna influence some people. So, I'm fine with that.
Films and gramophone records, music, books and buildings show clearly how vigorously a man's life and work go on after his 'death,' whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death according to our view!
I've been lucky to be able to make the records I've wanted to make. The record company has never pressured me to cut certain songs.
Everybody's just been spilling their guts all over records and talking about how hard it is to be an entertainer and how much we get hated on and what we have to go through. But I ain't really got it that bad. I'm just happy to be here.
I learned so much about recording and about singing on records from Ken Nelson.
We have a way of dealing with information that has sort of personal - personally identifying information in it. But there are legitimate secrets - you know, your records with your doctor; that's a legitimate secret. But we deal with whistleblowers that are coming forward that are really sort of well motivated.
Most of the time I don't force records. I'm not one of these guys that put records out every nine, 10 months. I'm pretty long between records. I've only had a few in my career. I kind of wait until I feel I have really strong songs. I don't know if they're going to change the world or not, but I dig 'em, and if I dig 'em we make a record.
My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.
When the year starts the objective is to win it all with the team, personal records are secondary.
We have a partnership deal with New Line Records, which is part of New Line Cinema, and... I worked on that.
I've played with so many people that I never really noticed that I was playing with so many people until after it was compiled on the Internet. I just kept going. I haven't even heard half the records I've played on, to tell you the truth.
The one thing I've always demanded of the records I've made is that they be danceable.
Life is true to form; records are meant to be broken.
I was in Tower Records in San Francisco a few weeks ago, buying some cassettes, and a couple of people recognized me and ran up with albums, and I just wanted to cover my face and have a seizure or something. I want people to just go away.
While there are few records of Viking women participating in battle, they certainly held positions of high status in society as human sorceresses known as 'volvas.'
Each of my records has a different focus, a different theme.
We were not given any statistics as to how many records were pressed on the blue label. I used to ask Bob Shad how we were going to get paid from record sales and what I got for an answer was not to worry about the business end of the deal.
I hope our hopes and aspirations are bigger than setting records.
In America, the photographer is not simply the person who records the past, but the one who invents it.
When I'm at home, I like to put records on, but because I travel a lot, I listen to a lot of music on my iPhone.
I recalled how a lot of my older siblings would go to a friend's house and borrow records to play and sometimes borrow a turntable because we didn't have a turntable in the house until I was 8, about the same time we had a TV.
For me, the creative process for me always starts in a personal place. I step away from my iPod or any records or CDs.
My first records are integral because I made them, you know, and I'm going to learn from those mistakes.
I love playing live and creating these records that people are so into.
I took some lessons as a kid but trained myself by ear. I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.
I obviously appreciate all the fans I gained from my band, but there weren't enough of them to make me a very successful artist. To me, being successful is selling a lot of records and selling out big venues on tour, and it's not up to anyone else to decide what success is for me.
For us, the pressure comes from internal matter of having recorded eight records.
On the other hand when you are someone who records their own songs you are basically stuck writing for one voice and for one style that can stifle you a bit. It's a real trade off.
The purpose of sealing the records was not to conceal them or to conceal the facts from the American people.
But we used to go to flea markets and things, and look for old 78 records that had silly song titles.
Because obviously the whole purpose of putting records out is purely and simply to make money.
It's entertaining to watch somebody break my music down or explain what he thinks I was thinking during the process of making these records. Because... he has no idea.
Why do we need to wait until somebody sells 10 million records to give people a show like that? What about us smaller, hungry folk? At least gimme a curtain!
