The people that only listen to one song from a record and flip around that much, if that's the only way they listen to music, they're probably the kind of people that like music as something to drive to, you know?
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
When I'm actually creating music, I try not to listen to the hip-hop records that are going on, because I think, subconsciously, we steal from each other.
I've built a solid career there, but America's ten times the size. Now that we're onto the third record, I feel like the stars have aligned and American audiences are embracing my music even more.
I prefer career artists that have spent time honing their craft, as opposed to, 'I won a karaoke contest on a reality show and now I have a record.' That's such a drag. The music that comes out of it is so poor.
When recordings replaced concerts as the dominant mode of hearing music, our conception of the nature of performance and of music itself was altered.
I would do a Byrds tour or a Byrds record in a minute. I miss that band now. I've tried to convince Roger over and over to do it, but he's not interested. Music isn't something you can legislate into being.
I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.
I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.
As a DJ, it's my job to break new music. And instead of it just being the stuff that's coming from the major labels or the big pop records, I've always gravitated to something that's just different, you know?
I'd forgotten what it was like to play music and have it be fun so I decided to stop. I wasn't even sure if I was going to make a new record, I was just kinda quitting.
My grandfather was a massive influence in my music. Growing up, he would play a lot of old-school records to me. A lot of jazz and swing music, actually, growing up.
Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.
We were excited when we sold our first 10 records. I always felt that if we could get the music out there, and if people became accustomed to it, then a substantial number of them would enjoy it.
That would be awesome, to be totally making records whenever I want and to play a show and have a few hundred thousand people there at any city you go to because people know you and your music.
Selfishly, I make music for me. I like to make music. I like looking for songs. I like working with interesting musicians. I like producing records. It's something I will always do.
My audience is the baby-boomers, the bulk of the population. This is also a group that is being ignored by most record companies because they're not the Top 40 hit singles market. They forget these people still listen to music.
There's this idea of a star, and this person is very aloof and writes all the music, and they don't talk to anyone unless they go through the record label. And I always felt very uncomfortable about that.
Today's consumer is less interested in possessing things and more in experiencing them. That's something the music industry needs to get its head around. Do we even need record companies any more?
Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
