The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.
I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.
In the '80s, the way radio was programmed, if you didn't have a hit record you weren't going to be able to make any more records. That was it, period.
Bob Dylan's first couple of records in the 60's weren't considered cover records, but he only wrote one or two original songs on each album.
I think it's ridiculous to try to sell records to teenagers, because teenagers don't buy my records. And there ain't that many teenagers out there in the marketplace.
I just wanted to make a record that wasn't escapism. Like, I didn't want to write another record that was devoid of meaningful content.
I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.
I approach writing stories as a recorder. I think of my role as some kind of reporting device - recording and projecting.
We recorded that trio and it's out on the Knitting Factory label. I've got another record in the can with that group and Marc, which I'll hopefully finish some time before next summer.
You have all these song titles and song time, and you put it in a certain order, and you slap a cover on it. That's a record. That's how I've seen all my records.
Something is better than nothing. Doin' anything for a man, there's investments involved, there's time and production. It's better to give him ten bucks and get a record out than to never record the cat.
I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.
Like the vast majority of my constituents, I continue to be concerned about record profits reported by petroleum companies at a time when consumers are paying record high prices for gasoline.
Finch: One thing is true of all governments - their most reliable records are tax records.
We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.
When digital technology started becoming the norm, you've got 50, 60, 70 years of recordings on tapes that are just deteriorating. Like, a two-inch reel of recording tape won't last forever. It dissolves. It will disappear.
Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.
As far as my solo record, I don't want a gold record or anything, I'm happy to be small and to have the people appreciate the music who really like me for being me.
I don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.
My real passion is for opera. It was born and developed by listening to records, and my dream as a child was to record entire operas when I grew up, and this dream came true.
It's typical of record companies. They sign you because you're unique, and then they want to put you in a mold so they can sell records.
