A Quote by Adam Mansbach

You know you're a hopeless record nerd when your time travel fantasies always come around to how cool it would be to go back to 1973 and buy all the great funk and jazz and salsa records that came out that year on tiny obscure labels and are now really rare and expensive.
I was sometimes doing DJ stuff and working in a record shop in Tokyo. That place was a very unique shop. It was the place lots of DJs came to get used and rare records. It had a lot of jazz, funk, Latin and seventies rock.
I like the sci-fi channel. Just science in general. I came across a segment on time travel and how time travel is possible. We create a spaceship that's moving at almost the speed of light, we go in that spaceship in outer space, and we fly around for a year, when we get back to Earth, Earth would've aged 10 years.
I have watched independent record stores evaporate all over America and Europe. That's why I go into as many as I can and buy records whenever possible. If we lose the independent record store, we lose big. Every time you buy your records at one of these places, it's a blow to the empire.
Time machine... wouldn't you like to travel through time? I would. I'd go back... mess with people. You know what I would do? I would go back to when my mom and dad were having sex, to have me. Ya'know, come in, spank my dad on the ass I'm your son from the future! Ahaha!
I never go to the Grammys. I just never go. I don't know if I care enough, and I went because my son wanted to go, and they asked us to present Best Hip Hop Group of the Year. You know, we had two records from Compton in there, and it was just like a cool thing to do, and to do with your son, and it was just cool. But we was the first award up, so after I did my thing I just jumped in the car and came on back home.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
I belonged to the Columbia Record Club, and that's where my records came from. For some reason, I was in the 'jazz' category. I got Benny Goodman records and Miles Davis, J.J. Johnson and Kai Winding, and that kind of stuff. I really was not a jazz guy at all, but I knew some of those names.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
No matter what happens with EDM, I would like to go to New Orleans and just play with one of those small funk bands in an intimate venue. How cool would it be to work with a band with those huge horn lines and produce all of that great funk that makes you just want to party?
I come from the school of hip-hop where you just buy records and sample records all the time. Doing that is tough sometimes, because if you get a placement on a major record, your record could get shelved because of clearance issues.
There are some artists that I'll always be cool with. We'll kick it and we'll check on each other from time to time. It's not always about number one records or gaining something off from being around me. I experienced all of those people that came into my life that vanished as soon as the rumor came out. They didn't even call to ask what was going on. Those that know me know that it's not true. Those people really broke my heart because they treated me differently. Just going from having everything to losing it all. I lost everything because of that.
The requests started coming in from other prisoners all over the United States. And then the word got around. So I always wanted to record that, you know, to record a show because of the reaction I got. It was far and above anything I had ever had in my life, the complete explosion of noise and reaction that they gave me with every song. So then I came back the next year and played the prison again, the New Year's Day show, came back again a third year and did the show.
The record business is an oxymoron. In the 1960s, there was an upside to selling plastic discs so labels took the risk - they paid for the record, for marketing, promotion, publicity, everything it took to make the artist a star. But now we have to go back to the venture capital model. The business is stopping and everyone's complaining but you can't blame labels. It's a shitty business. You do it because you're passionate, or because it's what you've always known. But if you lived through the nineties, nobody is thinking this is great compared to what it used to be.
There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.
If you have someone that you think is The One, don't just sort of think in your ordinary mind, 'Okay, let's pick a date. Let's plan this and make a party and get married.' Take that person and travel around the world. Buy a plane ticket for the two of you to travel all around the world, and go to places that are hard to go to and hard to get out of. And if when you come back to JFK, when you land in JFK, and you're still in love with that person, get married at the airport.
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?
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