Recording in Jamaica is like nothing else. The studios are always closed in America. But in Jamaica, the studio doors are wide open, and there's music blasting out in the street. You can see the reaction of people immediately.
Some people only work to recorded music because it's so reliable and exactly the same every time, which is exactly why I don't.
He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.
Back then people closed their eyes and listened to music. Today there's a lot of images that go with the music. A lot of music is crap and it's all commercial and the images are all trying to sell the record.
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
Not only was it enough to be a cover band, it was perhaps the highest calling. After all, if you could play music recorded by others, stay true to the original, and still add fire and flare, why not?
Those albums are so important to me because, for the first time, I was making my own music, paying for it, finding strengths in it, and going through the process of finding the right music for the record.
It is one thing to record an album but it's a huge difference when people play it and listen to it and embrace it the way that I do. It has always been my dream to get my music out to the world and have people hear it.
For a long time, I was shy about recording gospel music, because I didn't necessarily want to show the inside of my soul, Milsap revealed. But now, the spiritual side of me is really shining through.
I do like to be creative and I'm very lucky that I've been given different areas in which I'm able to do that - whether it be film or television or theatre or whatever. I'm also still into music and recording.
I always tell myself, 'When I'm working on my record, I won't cut my hair.' I get so focused on the music that I'm not really going to the hair shop and getting cut up. I just have one thing to focus on.
I have a sort of tactility about music. I go into record stores and just run my fingers over it, the spines.
You don't necessarily pick the singles that you want when you're making a record, but for the most part it's the same process. You're the artist - you make the music that you want to make.
I rented a house, recorded the stuff in a house. Just took my time 'cuz sometimes it's just rush, rush, rush. I just wanna live and play music.
In our own state, we came up with, I think, what was a very novel approach to closing the gap on the uninsured. To harmonize medical records - which was a major step in getting costs out of the system.
I'm the guy that gets up at three in the morning to jot down an entire sheet of lyrics for something that won't be recorded for six months. You have to get it down when you can, because thoughts are fluid.
The scriptures record remarkable accounts of men whose lives changed dramatically, in an instant, as it were: Alma the Younger, Paul on the road to Damascus, Enos praying far into the night, King Lamoni.
I grew up in Marcy Projects in Brooklyn, and my mom and pop had an extensive record collection, so Michael Jackson and Stevie Wonder and all of those sounds and souls of Motown filled the house.
I worked with John, but I had enough sense to walk just a little ways behind him. I could have made more records, but I wanted to have a marriage.
Then I went through a whole bunch of crap with my lousy movies and pop records. I had people behind me kind of steering me in that direction, but it wasn't really my bag.
Tony: Have you been playing my records you little twat? Billy: I never played nowt. Tony: Nob'ed.
