A Quote by John Mellencamp
The CD, it should be noted, was born out of greed. It was devised to prop up record sales on the expectation of people replenishing their record collections with CDs of albums they had already purchased.
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A lot of people that buy vinyl today don’t realise that they’re listening to CD masters on vinyl and that’s because the record companies have figured out that people want vinyl, And they're only making CD masters in digital, so all the new products that come out on vinyl are actually CDs on vinyl, which is really nothing but a fashion statement.
I'll be honest with you, one of the things that frustrated me the most out the record leak thing, it had nothing to do with record sales - I mean, that's a joke. Has anybody looked at how many records anybody sells anymore? If you're not Jay-Z, a record leaking isn't going to affect you. It was just really personal.
Every record store and record chain has folded; they don't exist. They do not exist. And the only two outlets that would still sell CDs were Best Buy and Wal-Mart. They now have stopped selling it. There's nowhere you can go into a store and buy a CD in America. That's how it is.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
In the past, people were going to record stores and buying albums or CDs. And the label was exposing their artist as much as possible and maybe getting them picked up by a major. Now I tell people to cut a good tune and have it up in the marketplace the next day. You better be prepared to give it away, and people will come pay to see you.
I do have my more concept-y albums, and then I have the ones that are more about just collections of songs. For me, the first Dirty Projectors record that I put out was like that: 'The Glad Fact.'
I was in the generation of CDs, so when I moved to L.A., I think I probably brought my Shania Twain Come on Over CD. But if I lived in the '80s, I would definitely be the one going to the record stores.
Good short-story collections, like good record albums, are almost always hit-and-miss affairs - successful if they include three or four great tracks, wildly successful if they have five. And that's as it should be.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
I thought I was the only one who still enjoyed his record collection, but after reading 'How Records Got Their Groove Back,' I happily discovered I was wrong. There is something familiar about my old vinyl. Call it nostalgia, but I don't care for the 'purity' of CDs. They have no personality! The crackle and pop of the stylus on a record player as you wait for the music to begin creates an anticipation that CDs simply can't provide.
There was a time when we were in a van and handing out the CDs at Warped Tour. We had a two-song EP that we were just handing out for free just to promote ourselves. That was on the 'Waking the Fallen' record, and we were just going around and handing out the CDs and stuff like that.
If I had to live on record sales, I'd be pushing up the daisies.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
Originally, after 'Tambourine' came out, another record was supposed to come out, but I had issues with my record label at the time, which was Interscope. We couldn't agree on a record, so that took some time. I had to leave them and find a new label.
When I got to the second album, there was an expectation, because we'd sold nearly seven million albums on the first record, that this would do eight or nine.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
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