A Quote by Beanie Sigel
I could wake up six in the morning, go downstairs and record. I learned how to use ProTools and everything. Whenever I felt it, I could record.
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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.
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.
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.
When the first record came out, I'd go down to radio stations pretty much every day to get the record played, and I would walk in and they'd tell us how much they loved the record, but they weren't sure how much they could play it because they were already playing a girl.
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.
All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.
You wonder, 'How could it possibly be me?' Well, of course it could happen to you. You have it. Then, of course, you wake up every morning, and you hope it's a bad dream. Then you wake up. I have cancer.
My hope has always been that each record could have its own audience. Of course, it's awesome to have a cumulative audience for more than one record, but I like the idea that there could be a record that an individual might like.
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.
Basically, I wake up at nine o'clock in the morning, go to different record stores, go to the studio, think up different ideas for songs. Just workin'.
You could go to New York City, you could go to LA, you could go to the highest class studios in the world, they'll have all the bells and whistles, but it's not going to make your record any better.
How could Triple H EVER be mad, how could he EVER have a bad day? How would you like to be married to her?! Wake up in a wonderful mood every morning. I mean, look at that!
One day I'll wake up and I'll have 10 or 12 songs and think, 'Oh that sounds like it could be a record.'
One day I'll wake up and I'll have 10 or 12 songs and think, 'Oh that sounds like it could be a record.
When I finally decide that I'm ready to get out of bed, it could be the sunlight, it could be the fact that I'm awake, and, OK, first of all, I wake up in the morning because I have to go to the bathroom.
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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