A Quote by Shura

I'm 23, and if I wanted to release a record when I was 17, I could have released a record, but I'm really glad I didn't. — © Shura
I'm 23, and if I wanted to release a record when I was 17, I could have released a record, but I'm really glad I didn't.
I was 17 when I released my first record. I didn't really figure out what I wanted to say, how to get a message and put it together.
I think when you're 17 and you're angry, you're angry about very short-term things. And there's nothing wrong about writing that record. It's a very real record to write; it's the realest record I could write when I was 17. The problem is, when you're 28, it's not the same thing; it can be a put-on.
At 13 years old, I realized I could start my own band. I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.
When I first released 'The One And Only' nobody knew it was going to be so big. I just thought, 'Oh, this is what happens when you release a record? Brilliant! Let's release another.'
Al Gore wanted to tell people what they could listen to and what they couldn't, what they could record. It was basically coming down to the idea that he wouldn't let anybody record any music that he didn't think you should be doing. There was going to be an organization that would tell you what you could and couldn't record.
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.
I was 19. 'The One And Only' was my first record. It went to No. 1 and I was this big star. I thought that was what happened when you released records. Of course that is not normal. It's a great record and I'm still really proud of it but I think it was a bit of a fluke.
My favorite record I've ever done is Rock Salt and Nails. It was recorded in '68-'69 and released in '69. There's something about that record I really like.
I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.
It was always important to me that I made a record where I really sang well, and I don't think it's happened yet. There's always a possibility with each album that I might not record again, and I wanted to produce one that I could feel was mine.
I wanted to make a record with a twist. I wanted to prove that you could make a record that concentrated on song craft but that was still fun, something you could listen to and love and even dance to, but not hate yourself in the morning. I think I did that. Most of my lyrics come from my own personal journals that I have kept over the years.
When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.
I don't think any of us felt like, "Oh, we need to put joke songs on the record." If we found something funny, we would record it, and if we wanted to, we'd put it on the record. It's not really something we spent too much time agonizing over.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
You sometimes get the feeling that people think getting back together after a hiatus to write and record a record is work, you know, arduous and unpleasant. Being able to write and record - that's a privilege. I don't forget the long days I spent working in a restaurant, when I wanted to be done so I could go home and work on a song.
Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
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