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.
In 1940 I came across a record by Jimmy Yancey. I can't say how important that record is. From then on, all I wanted to do was play the blues.
There's a guy at the record company who's 30, and he says, I would not listen to these songs except in this context. Somehow the recording process, the arrangements, make it more accessible.
More than half of all the hip hop record sales are white people, and I think that might be a result of my record helping people to accept hip hop.
Interested listeners have only to hear the recording to find out if those guys, who go to such pains to undervalue my work, are right. All people have to do is listen to realize it is a beautiful record.
You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.
I would go to radio stations and they were supposed to be interviewing me and playing my record and they would say, We're playing too many women right now, we can't play your record.
