When Elvis sang, it almost sounded like he was whispering. But after you heard the record, his voice was the strongest thing you ever heard. He was incredible.
When I heard BB King's 'Sweet Sixteen,' I knew I wanted to play bass because that was the thing that made that record: the bass player.
I've always been slightly afraid of coming out with my record because it's so personal to me. Now it doesn't feel as frightening as I thought it would.
Cause when you're sequencing a record, you want the listener to stick with it from beginning to end, and in order to do that, you really have to map out the journey from the first song to the last.
A lot of times I go back to record and to make a tour, but I'm very happy to do it, because it gives me an opportunity to dig and hear what's going on.
I've watched the world crash and burn in every sense. I've watched the record industry crash and burn; politically I've watched it crash and burn, financially crash and burn.
We actually added an extra electric guitar to beef up 'Need You Now', but we haven't changed any of this 'Own The Night' record at all for the international releases.
As I like to say, the entire collective memory of the species - that means all known and recorded information - is going to be just a few keystrokes away in a matter of years.
My problem is I don't have this incredible, hip image. I'm not some flamboyant or gorgeous-looking guy who's going to sell records based on his image.
Though there are many differences between Barack Obama and Jimmy Carter, they are strikingly similar in their poor economic records and even more so in their shared pessimism and bearishness on America.
I'm not living for when I have a Number One record or when I make a million trillion dollars. I'm not doing this to get somewhere else. I'm doing it because I'm doing it.'
I definitely like the oddballs. There's a song called 'Little Thing,' which is the only song that I have recorded that has no words. And it's the one that I get past my critic inside me.
I'm one of those pianists who tends to ignore every existing recording and lots of traditions about playing pieces when I start.
I don't keep a record of the parts I've played, and I don't compare characters, but maybe I should? I could construct a graphic that grades badness and madness levels? Interesting idea.
People will have MP3s of every Miles Davis' record but never think of hearing any of them twice in a row - there's just too much to get through.
I've seen 13, 14-year-olds opening CDs as though they're records from the 1920s, going 'Look at this - there's a little book!'... That makes me think the format has probably had its day.
It was very hard to get any records, so the only source for us to really hear what was happening was listening to the Voice of America. We would be taping all the broadcast and then sharing the tapes and talking about it.
But here I am today recording this and I'm in the studio with all the others on a clean mic. It's extraordinary, the actor's found a way of doing it for himself.
As I speak to you today, government censors somewhere are working furiously to erase my words from the records of history. But history itself has already condemned these tactics.
My come-out record, '10 Day,' was the thing people were supposed to hear and figure out 'he's good' or 'he's not good.' 'Acid Rap' is the comeback tape, and it asks way bigger and better questions than, 'Is he good at rapping?'
I have a hard time listening to things I've recorded. I don't necessarily go back and enjoy it. Occasionally I'll have the iPod on shuffle and something will come on. Nine times out of ten I'll wince and go on to the next one.
