A Quote by Paul McCartney
My record producer [David Kahne] said the major record labels these days are like dinosaurs sitting around discussing the asteroid. They know it's going to hit. They don't know when, they don't know where it's coming from. But it's sort of hit already. With iTunes, and all of that.
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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.
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.
The record Clef and I did was just sitting there. So I said, Clef, I got a record, hit a verse on it. He just went in, messed around and ended up doing the hook too.
The good thing about having a hit record is you don't need too many people. Because now your record is on fire, and I already have a great team around me, so why run to the labels?
There's definitely some sort of dissent brewing between record labels, publishing companies and artists [about the compensation they get from streaming services] Spotify is returning a HUGE amount of money [to the record labels]. If we continue growing at our current rate in terms of subscriptions and downloads, we'll overtake iTunes in terms of contributions to the recorded music business in under two years.
I don't know if I'm selfless - I still want to make a great record. I want to make a hit record. I want to tour; that's not completely selfless. But the truth is I'm not interested in people coming to my show for me as much as I am for them coming to my show for themselves. That's always been how I am.
I've know Jeezy before he was Jeezy. I've been down with Cash Money from back in the day. So these are real relationships. I'm there for them and they're there for me. And they know if I'm going to make a record with somebody, I'm gonna hit a home run.
I'm not chasing a hit record - that's why I can make a hit record. It's not forced at all; it just happens. It's off of vibes.
I know that I'm going out there, and I know that I am going to get hit in the head. I know that's part of football. That's like a firefighter knowing he is going to go into a fire at some point. You know you are going to be put in danger's way, and you accept that risk, and you do it.
I never want to record something that I'm not proud of just because I think it might be a big hit. There's no positive about that because if you record a song you hate and it's a big hit, then you're singing a song every night that you hate. And if you record a song that you hate and it isn't a hit, then you sold out for no reason.
Well, I was making a record, and I had to choose a name, because they said, you know, you can't make a record under the name of Reg Dwight, because it's never going to - you know, it's not attractive enough.
I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you're quiet and sitting there and you have the right bait, you're going to catch a fish eventually. Ideas are sort of like that. You never know when they're going to hit you.
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.
You know, the European record labels always say, 'We want 12 songs and then we want bonus songs,' and you're going, 'What for? Why?' That's not a record.
Sooner or later, we will face a catastrophic threat from space. Of all the possible threats, only a gigantic asteroid hit can destroy the entire planet. If we prepare now, we better our odds of survival. The dinosaurs never knew what hit them.
Miles Davis came in a couple of days and said, "Oh, man, I love that. Keep going." So he said, "Let me know when you need trumpet." And he came in, and he was sitting there, and I was very intimidated, because now he's going to play the trumpet on something that I wrote." He starts to play, and I go, "That's not right, but I don't know how to tell him it's not right." Finally he goes, "When are you going to tell me what to do?" He said, "This is your music. I know you know how it's supposed to sound. Stop fooling around. We don't have time."
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