Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
A lot of those early blues records and soul records were pretty much live. It was what it was, and they had goofs and mistakes, but it still kept its charm. We have to remember to keep the feel. It's so important.
I love listening to old records. Stuff from the '70s, even disco and funk records and a lot of early rock albums - what's great about those recordings is that you can actually hear the true tones of the drums themselves.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I don't think, that all my stuff could've been records. Some, maybe. The ones that I really wanted to be records, those are the ones that are going into the box.
I guess the revival of vinyl records is not helping the environmental problem. Although, in some ways, people don't throw records away - I mean, I still have records from when I was 5. So it doesn't seem quite so wasteful. But maybe I'm just lying to myself.
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
I'm a fan of records you get and you listen to them from beginning to finish - records where everything is there for a purpose. There was never any filler on those records - it was all well planned out.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?
The fans are the end result of what we do. Sometimes I think we forget that those are the folks that mean it in this game. There's plenty of evidence to be found that you can have all the #1 records in the world, but if you really ain't touchin' them, you don't come home with gold records and platinum records. I'm very proud that we've only had one #1 record, but we've sold two and one half million!
The thing about Shaggy's records are those records are very timeless.
If you listen to 'Electric,' 'Entourage,' and 'Been With A Star,' all those records are records that I dug into the crates for to help me create that feeling of old funk. No one makes records like that anymore.
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