I do not want to live in a world where everything I do and say is recorded. That is not something I am willing to support or live under.
I have a stunt double; his name is Glen Levy, and he has the hardest punch in the world. Seriously, it's actually been recorded by 'National Geographic.' He calls it the Hammer Fist.
Breaking the world record in '92 was a very special personal moment, but I'd say my favorite moment as a decathlete was winning the Olympic gold medal.
I've watched the world crash and burn in every sense. I've watched the record industry crash and burn; politically I've watched it crash and burn, financially crash and burn.
When my world record got broken in 1999, it hurt a little bit, to say the least. But I was in a leg brace at the time and I had just had knee surgery and I couldn't do anything about it.
I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing...
Well, Smoke n' Mirrors has very much a world music flavor and it doesn't park itself in one country. It borrows heavily from the Brazilian angle, which is dear to my heart, and I recorded several albums with that flavor.
I mightn't be a shaman in the indigenous sense, but as a world-bridger between Western culture and the indigenous world, I knew I was playing a shamanistic role. Language was my medicine and with it I would do my best to record my awakening and help ...
I don't think that much anymore in terms of 'write a record, record a record, tour a record,' because in my own mind, things have changed, in that I'm just an ongoing artist. I'm not quite sure what the next project needs to be until it presents hims...
[last title cards] Title card: In 1968, "At Folsom Prison" became one of the most popular recordings of all time, outselling even the Beatles. Title card: That same year, John and June married and settled into the lake home in Hendersonville. Two yea...
There are no record companies in Waikiki.
Personal brands are determined by a track record of actions, not a track record of plans.
We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.
If you listen to a Deadmau5 record or a Skrillex record, I really enjoy that stuff because, as aggressive sounding as the Skrillex records are, they're still musical, and that's why they have such a broad appeal.
My records are borderline dance records. They've got a real electro-rock heart and soul, and the vibe of the sentiment is pop, but there's a lot of people that were like, 'This is a dance record.'
What I say on a record and what I say off a record is two different things. And that's always been the case. There's a difference between confidence on a record and arrogance.
I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.
I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.
Well, we were originally called Huey Lewis and the American Express. But on the eve of the release of our first record, our record label, Chrysalis Records was afraid that we'd be sued by American Express.
I've got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next - since The Police I've mostly made records with keyboards.
