My last two records that I made were both quite pointed in one direction and I think I do my best stuff when it's all over the map, when there's a couple traditional things, a couple pretty rocking things.
What I try to do is produce an atmosphere where musicians want to invest in what they do and give to the recording. I hire those musicians who I know will play something creative and interesting.
Records were replaced by CDs, and lead type died in favor of computerized fonts. However, each had a 100-year ride of popularity, so you can't feel too bad for them.
There were a whole lot, I bought every blues record I could find, it wasn't just one or two people. My vocal influences were Ray Charles and Bobby Blue Bland.
We are taking close to $10 a CD the way we are doing it, and I think that is a fair amount to split up between five guys. Each of us makes like two bucks a record.
I'm no diva but I can be annoying in a recording studio. Of course I try to be a diva in terms of confidence of performance and owning a song but I've never behaved like one in terms of the negative connotations of the word.
I think the intelligent thing about it is that you have to carefully listen to it all to grasp it, and because I'm not in every scene - colossal disappointment to everybody that it may be - I'm not getting the full picture here today while recording ...
As I grew older, I actually was prepared to go into fine arts school and do a degree. That was what I was actually settled upon when I was offered a record deal.
I'm often reading a magazine and hearing about someone's new record, and I think, 'Oh, boy, that's gonna be better than me.' It's a very common thing.
I'm always amazed to hear of air crash victims so badly mutilated that they have to be identified by their dental records. What I can't understand is, if they don't know who you are, how do they know who your dentist is?
When I get the record, all it will make me is the player with the most hits. I'm also the player with the most at bats and the most outs. I never said I was a greater player than Cobb.
I had a handful of records, but when I was 11 years old, I liked Puccini as much as Little Richard. They both made sense to me.
The first album was a very successful record. It made me very visible and it's an immediate association, but I don't do that anymore. Now I'm true to myself as an artist again. I'm more vocally oriented.
It's my first record since my son is old enough to understand and I can't even show it to him. Yes, it's affected me, probably in the opposite of how anyone would have thought.
In my first year as governor, we solved some of the problems that had begun to undermine the Open Records Act. We gave the act teeth by providing criminal penalties for knowing violations.
If you are speaking about my own songs, I would think so because we were talking about that particular era and I was singing one of my songs that I recorded 50 years ago.
Well, for the My Generation album, there was nothing to be nervous about in them days. We used to take every day as it came. Every day was just a gig and I think we did the recording between gigs literally.
Sometimes we do grip the concert in a human head, and so hold it that in a way we get a record of it into paint, but the vision and expressing of one day will not do for the next.
I like doing things in a very minimal, unconventional way as a personal way of saying, 'Look, I made a career out of carefully and craftfully, though unconventionally, making records on laptops and blown speakers.'
Sometimes a song that didn't make one record will stay in my head for so long and just won't go away. I take that as a hint to keep 'em close and not forget about them.
Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
