A Quote by Balthazar Getty
I have a habit of recording records very quickly - and not in a haphazardly way, not in a way where I'm not focused on details, because I'm a freak when it comes to that.
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I'm very fussy about how my records sound, but I'm very aware that because of the way they sound, I will never be a big-selling, mainstream artist because the public has gotten conditioned to hearing pop music in a certain way. And I don't do it that way.
I think its very easy to try to launch things too quickly and do things too quickly and not pay attention to the details along the way.
I used to have tears in my eyes on the way to practice because I was so focused. For me, track and field was serious business. I didn't have any friends. I was very isolated and very focused.
Recording and performing 'Replay' was a learning process throughout, as we focused on the details.
The way for me to live is to have no way. My only habit should be to have none. Because I did it this way before is not sufficient reason to do it this way today.
That's my way in the very beginning - how to enter it [a role]. Very quickly in the process, I don't think about voice being separate from the way you hold your head or the way you sit or the way you put on lipstick. It's all a piece of a person, and it's all driven by conviction.
It is not that I don't like contemporary country music because I do. I love it. I have recorded a lot and have had great success recording records that have not been very traditional country records.
I'm not going to change the way I look or the way I feel to conform to anything. I've always been a freak. So I've been a freak all my life and I have to live with that, you know. I'm one of those people.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
Writing in a nuanced way, getting at all the details in a way that remains interesting for the reader, is very difficult.
If you are a designer, sometimes it is better not to delegate, because someone pays money for something that you designed, so it should be exactly the way you want it, exactly the way you would have chosen it. People call me a control freak, and I say, "Well, my name is on the shoe." It means the heel needs to be the way I want it and not the way somebody else wants it, and the toe needs to be exactly the way I want it, and the fabric and the material have to be exactly the way I want it. It is not a democracy - it is a dictatorship.
Music is a conversation between people and their community, you know, people and - and deejaying, it is a way of amplifying that conversation and kind of putting that conversation on blast in a way. But at a very basic level, it's records talking to records.
I'm very proud of my records, but my most natural creative tendencies have been in live performing. There's a beautiful element to recording and making records, but I've always felt a little shy with it.
Theres a bunch of Elvis Costello records that made all the difference between feeling like a total freak and feeling like ... only a freak. A freak among other freaks
A lot has been written and said about why he was so great, but I think the best way to appreciate his greatness is just to go back and play some of the old records. Time has a way of being very unkind to old records, but Elvis' keep getting better and better.
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