When you're making a record - and I've never said this to anybody, but it's true - when you're making a record, and you go, 'Man, this might win a Grammy!' you feel that level of confidence when you're making a record.
I think something that is never really spoken about is the learning process of making records - I made my first record at twenty one and learned so much about record making from that before making 'Bomb In A Birdcage' a couple of years later.
I didn't really feel any pressure when I've made records, I haven't as yet anyway. I feel when I'm making a record that I'm so excited about making new songs that when I'm doing demos of new songs, as soon as I make one that's really different I get really excited about the record, I don't care about the last record anymore.
My favorite record of all time is Tom Petty's 'Wildflowers.' I hold it as the standard - in terms of sonics, sequencing, and songs. It shows that making a complete record is important, rather than just making a single.
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.
'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.
I just like making music. Record, record, record.
I don't mind bad stories when it's true, but we have an administration where the Democrats are making it very difficult. I think we're setting a record or close to a record in the time of approval of a cabinet. The numbers are crazy when I'm looking.
With a Grammy, if you're releasing your record with a major label, you have a chance with any record. You also have a very long shot with every record.
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.
That's the strange thing about making a record. You can be in one mood for an hour, put it on a record, and you're remembered that way.
That memory of making the record is a huge part of the record itself.
We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.
When I was 13 I'd record myself on my karaoke machine and if I didn't like it I'd record it again. I'd do that for hours, making sure each line sounded just right.
Well the way I ended up with my own record is that I did this concert at Wesleyan University. It was just one night and we had no thought of making a 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.
When we're putting a record out I never ever consider how people are going to respond to anything. I only ever think about how I feel about it really, and as long as I feel I'm making the best record I possibly can where my head is at that time, then that's all that really matters.