When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
It's like, how do you continue to make records that are representative of who you are that your fans will recognize as your band, while still trying to push things forward and present new sounds for people.
Well, a lot of our concerts do okay, and I know we still get royalty checks which still isn't that important, but again, I have to just say that we're making our records.
Playing Etta James in the movie 'Cadillac Records' really changed me. It was a darker character, and I realized that if anything is too comfortable, I want to run from it. It's no fun being safe.
As far as the creative process goes, I always make sure that anything that gets discussed or talked about in the record is true to form. I make it a point not to sing anything that I haven't felt or gone through.
The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula.
I just feel my sexuality is private. I'm very shy about being sexy. That part of me has been so closed to the public eye. I've sold millions of records with my clothes on.
A musical film is my idea of heaven. You can pre-record, you don't have to sing live. Singing live was the bit I hated the most. I never felt like a confident singer.
The Fourth Amendment is quite clear on the notion that search and seizure must not be unreasonable. It is difficult to think of something more unreasonable than searching the private phone records and digital information of citizens who are suspected...
The thing that got me started on Twitter was just basically pressure from management and the record company saying, 'Hey, this is what all the other artists are doing. You need to be doing it also.' I didn't really have a clue what is was.
I was the only person I'd ever met who had a record contract. None of the E Street Band, as far as I know, had been on an airplane until Columbia sent us to Los Angeles.
Even though we're not the most punk rock band, the way we've done things is pretty punk rock. Just kinda say it with a big middle finger to the record labels and do it ourselves.
I must tell you, to get started today must be very difficult 'cause whatever it takes today is very tough. They have to invest a million dollars in a video just to see if you have a hit record.
I would sell 2 million records, a million went to teenagers and a million went to the adults. So, when The Beatles became so popular, I lost a million to the teenagers, but I was still selling a million to the adults.
Hey, we've all been to high school We've seen the in-crowds. Most of us have been in the outer crowds, the people who weren't in. Although I was never in, I was selling records and was very happy.
I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.
Punk rock really came out of N.Y. as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing.
SST was formed to put out the first Black Flag record. Basically, there wasn't anyone else to do it. I felt that what I was doing with Black Flag was very worthwhile, and I wanted to get it out there.
Live records of mine are very painful to listen to because you always think you can do it better. I don't think I have a single favorite one.
When I went to record my first album, which should have been a punk album, there was a synthesiser in the control room. I'd never seen one before but they let me have a go on it and I loved it to bits.
