I think when people make a record with a goal in mind - like taking it to the next level or making them seem more mature - that gets in the way of writing great songs.
I think I write very good songs. But I don't know if anybody could record my songs with as much fervor. They sound good sung by me, and they especially sound good with my band.
I do want to sell as many records and win as many awards as I can. The awards though, they don't necessarily determine if you're good or not. I know that now.
If it's a good LP, you'll get that tingle that makes you put it on again no matter what your initial reaction was. On the other hand, if you don't get that tingle, you'd better take it straight down to the record exchange.
If you don't think drugs have done good things for us, then take all of your records, tapes and CD's and burn them.
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 don't think we have very good records about what they were thinking except, as I pointed out earlier today, that they did invent our political system.
Making a record with 'Depeche Mode' is not a simple process. It's quite complicated and long. We have the luxury of time. I'm not sure that's such a good thing when you're being creative.
The argument we always used to use was that keeping records in the catalog was good for people that were coming new to the music, but I think that was talking over a ten year or fifteen year time span.
If there is a good musical reason, I think it might draw more attention and sell, though it is not guaranteed. To make a record without a musical reason, you have to either be a pop star who sells automatically or just be lucky.
Somebody who knows what they're doing, who has a good track record, they come across as very articulate, bright and looking for a challenge - that's absolutely my kind of hire.
So you know, everyone points out Greece's default record, but the history of a lot of sovereign nations is not a good one when it comes to lending them money.
It's hard enough to make a good song and a good recording of that song. But to try to tailor it to some outside force is just like - It's never been a factor in what I've done or what the band's done.
But I don't have a very good track record with royalty. My dress fell off in front of Prince Charles at the Prince's Trust, so I'm just living up to my reputation.
Good records - from my point of view, where I grew up which was Led Zeppelin and Jethro Tull... bands that were pushing the envelope a little - musically and in production.
If you make a record, you should ask yourself, 'Did it make someone cry, in a good way, not a bad way?' There should almost be subjective emotional criteria for evaluating work, instead of just profitability.
History will have to record that the greatest tragedy of this period of social transition was not the strident clamor of the bad people, but the appalling silence of the good people.
I'm always nervous before starting a record because I can never sleep. I'm like, 'I have no good ideas, everyone is gonna see through me.'
I think Bridge Over Troubled Water was a very good song. Artie sang it beautifully. The Boxer was a really nice record. But I don't think I've written any great songs.
I still look good. I'm trippin', but people tell me that all the time. So check it out, I'm 63, and still kicking. I've been putting records out every year.
There were a lot of times where there was a great deal of fodder recorded and played, because there was a market for it - just as there is today. And there were more bad bands than there were good bands - I think that should always be remembered.
