I don't know if there are artists out there who love their own records. I haven't met any, and I'm kind of extreme in the other direction, but therein lies the impetus to keep working and keep making new songs and new records.
A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.
I love the road. That's always been my goal. I've said that to many record labels. I want to make records. The road is my favorite. Some people hate the road, I love the road.
For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.
Well the way I ended up with my own record is that I did this concert at Wesleyan University. It was just one night and we had no thought of making a record.
I learned how to play guitar by playing along to Jane's Addiction records and Smashing Pumpkins records, things you can totally hear if you listen to my guitar.
I used to carry a bag of records down to my friend's house every Friday, and we'd sit down and play all the records I loved, and we'd look at the album covers.
Fame came quickly. I was only 19 when I secured my initial recording contract and my first two hit records - 'Are 'Friends' Electric?' and 'Cars' - were number ones.
The CD, it should be noted, was born out of greed. It was devised to prop up record sales on the expectation of people replenishing their record collections with CDs of albums they had already purchased.
I really don't think records should be made in the manner where you sit and write, and when you're finished writing, you start recording. That just seems conventional and old-fashioned to me.
Once I started looking for a record deal, I had a trainer. And the trainer told me that I would never sell a record if I didn't lose weight.
So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.
The opportunity to record the song came when Phil Collins' record label, Atlantic, was doing a tribute album to him and they asked all these different artists to do renditions of his songs.
Sometimes I'd hear things on other people's records and I say I wanted it on my records, but Leslie Kong said, no, it wasn't right and that it wasn't my style.
If I never sang on a record again I can still look at my walls. They are covered floor to ceiling with gold and platinum records from all over the world.
In the late '70s, I had a band - the David Johansen band, for lack of a better name - and I started collecting, not records, but tapes from people I knew who had jump-blues records.
If you put all the songs together that I've written on band records, and put it up next to my solo record, there's definitely a different kind of feel than Billy's songs.
T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.
We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.
It became a question of do I want to be on a label where it could take three years to put out a record instead of putting out three records over the same period of time on my own.
While I used to make my living principally as a record producer, as time went on, I had to depend more and more on my live performances because of the evolution of the record industry, which has de-emphasized what made it possible to make a living.
