's records, carefully preserved for a century, were destroyed during the World War II bombing of Manchester. It is not only the living who are killed in war.
Biographical data, even those recorded in the public registers, are the most private things one has, and to declare them openly is rather like facing a psychoanalyst.
Records are one thing, and obviously, without hit songs, you don't have the opportunity to do your shows. But my live show has always been my selling tool.
We are not a Zappa cover band. We only play Frank's songs that were recorded by the Mothers of Invention and I think a lot of those songs were complex.
Some musicians like to decorate their walls with discs saying: '1 million records sold in America.' I prefer to put up discs marking sales in lesser-known countries.
McDonald's is almost 50 years old. For 47 years we had a pretty consistent track record of being able to deliver admirable sales.
All of the sudden the audiences started getting younger and the spread of the attendance was really wide. I think it's as a result of the records selling more that they started following our careers.
We provided complete protection to witnesses - right of attorney, right of record, right to cross-examine, and open hearing if they desired. Only Mr. Lane asked for an open hearing.
Breaking the world record in '92 was a very special personal moment, but I'd say my favorite moment as a decathlete was winning the Olympic gold medal.
Ian and Sylvia, who, when you got right down to it, were essentially country and western singers. I just recorded his Four Strong Winds. It's a wonderful song.
Billy Konchellah with his World Championship titles, Paul Ereng with his Olympic gold and Wilson Kipketer with his World records are my role models.
I think the film is beautifully realised. His legacy as a journalist was recorded - as it were - well, and certainly the important issues of the '50s - or even today - are delivered and presented to the audience in a rather honest and objective way.
I also wanted to make a record that was about other things than romance, yeah, after two years on the road singing all the songs from the first album, I got kind of tired of that.
The difficult thing about a pop record is that you're given guidelines: it has to have 3 choruses, and then it must be between 3 minutes fifteen seconds and three minutes forty-five seconds.
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.
I made a dollar a day sweeping a laundry out. Then we made a record that was number two in Los Angeles. We got so excited hearing it on the radio that Carl threw up.
Modern records are all made with virtually identical gear, software plug-ins and everything. Everybody wants everything to sound like the last thing that was popular because they're chasing their tails.
I found with this record I had to really be strong-willed, because in the past I've tended to tinker and add a thing or take a thing away, and nearly always been wrong.
I know that when I make a record like The Delivery Man as a contrast to even Il Sogno, this is going to reach a wider audience, because it communicates in that very direct way.
Usually, when you do video games, you don't interact with the other actors. You each record your audio on different days, and you never really meet the other characters.
I'll always leave the same set of strings on my guitars when I'm recording. If I break one I'll just replace it instead of putting on a whole new set of strings.
