I meet people at book signings. My record now, for signing, is ten and a half hours in one sitting.
Many instances of persecution and killing have occurred in countries with atrocious human rights records such as Sri Lanka, Guatemala and the Democratic Republic of Congo.
My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.
But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.
Obama is like the kid brother whose only standard for judging his own achievements is the records his big brother set.
The Book of Mormon, the record of Joseph, verifies and clarifies the Bible. It removes stumbling blocks; it restores many plain and precious things.
I'm the only girl songwriter that fights for a lot of things. I fight for songwriting fees, which record labels want you to shut up about.
There hasn't been one moment in my career where I felt I didn't have any control over the creative aspects of my records.
I'm on the ground, I've been in swing states, I've been talking to the American people, I've been out there speaking on behalf of Obama's record, I've been in the trenches.
Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
It's like whether you're in a huge movie or you've just recorded an incredible album you've got to do the next thing, and that's part of being an artist.
I'm a bit of a nerd, I wouldn't mind working in a shop selling records, or having a radio show where I could play obscure singles.
Before I joined The Beach Boys, I was working at Columbia Records as a producer, and saw The Byrds come in and do their first overdub before Terry even met them.
I had this big thing about guitar harmonies. I wanted to be the first to put proper three-part harmonies onto a record. That was an achievement.
I have ambitions to set records which will be hard to chase down, like getting more than 100 caps for Ireland.
Brooklyn is where I primarily developed. I had an opportunity to make records and perform in clubs here and there, and I started networking with the right people in the right places.
Pessimism and optimism are slammed up against each other in my records, the tension between them is where it's all at, it's what lights the fire.
I started singing when I was 18 and landed my first record deal with RCA when I was 26 after a lot of grafting singing in pubs and clubs.
When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.
Some of my favourite record and album covers and stuff have all been the singer, and they create a character, and they dress up a little bit.
All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.
