A Quote by Frankie Valli
It was very important to establish a sound, so that people heard a record on the radio and knew immediately that it was you.
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The very first time I ever heard anything of mine on the radio, I was in New Jersey, and I was in my teens. I did my first record, which was an old standard called 'My Mother's Eyes.' It was the old Georgie Jessel theme. I heard it on local radio out of Newark. And it was very exciting!
My role models came in my imagination, from what I'd heard on the radio or on record... Vera Lynn I loved, but I'd only ever heard her on the radio. Gospel singers, Bessie Smith, Mahalia Jackson. So it was in my head that I visualised the emotion but no way to see how people do it.
With 'Sherry,' we were looking for a sound. We wanted to make the kind of mark that, if the radio was playing one of our songs, you knew who it was immediately. But I didn't want to sing like that my whole life.
Listen- my relationship with radio on a personal level is nothing but a one way love-a-thon... I love radio, I grew up on radio. That's where I heard Buddy Holly, that's where I heard Chuck Berry. I couldn't believe it the first time I heard one of my records on the radio, and I STILL love hearing anything I'm involved with on radio, and some of my best friends were from radio. But we were on different sides of that argument, there's no question about that.
People want to be the first with the record, they want to be the first to know which songs are on the record, all that kind of stuff. So I like to just stall them a bit. Personally, I love the idea of an album that's completely new, that no one's heard any free downloads, any pre-record releases, all that kind of stuff, and nothing's been played on the radio. Totally virgin, you know, a sealed record. That's my ideal, but it's very hard to get anybody else to agree to do that.
People would be surprised if they knew how shitty my recording situation has been over the years. It took a lot of work to make the music sound ok. Having space where you can't be heard is more important than not being able to hear. If you can't be heard you feel more free when you work.
When I first heard 'Let Me Love You,' I knew immediately it was going to be a hit. I believed in it and I had to literally force it down the throats of his record label, who weren't believers at first.
Usually, when you're putting out a record, you have reviews from people a week before, and you have a vibe 'cause everyone's heard it - you've heard feedback from everyone, and they've listened to your single for a couple of months. Radio's playing it.
When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.
It's very difficult to explain the effect the first blues record I heard had on me, except to say that I recognized it immediately. It was as if I were being reintroduced to something that I already knew, maybe from another, earlier life. For me there is something primitively soothing about this music, and it went straight to my nervous system, making me feel ten feet tall.
Early on, before rock 'n' roll, I listened to big band music - anything that came over the radio - and music played by bands in hotels that our parents could dance to. We had a big radio that looked like a jukebox, with a record player on the top. The radio/record player played 78rpm records. When we moved to that house, there was a record on there, with a red label. It was Bill Monroe, or maybe it was the Stanley Brothers. I'd never heard anything like that before. Ever. And it moved me away from all the conventional music that I was hearing.
I have an artist background and I got into the field because I heard things in my own head that weren't happening and I wanted to have the control. So I learned to record and mix and do all those things. I found it as a means to an end, and I was fascinated by sound and creating sound. I very quickly became addicted to understanding everything there was to know.
That radio was very important for me. It meant I always knew what was going on in the world.
With tons of chaotic supply on the internet, you're going to have people who become very good at being curators or stylists. It's the same sort of people that I used to go to record shops for - I knew if certain people recommended something, it would be good. There's always going to be those people. It just depends on what they're called: curators or radio jockeys or bloggers.
For me, at a very young age, I knew I wanted to be in the entertainment industry; I wanted to be an announcer. I was very smitten at an early age with the voice I heard coming from a radio.
It started when I was eight years old. I first heard the cello on the radio, and I loved the sound. It was such a magical, beautiful sound. I dedicated my entire childhood to cello, practising like crazy.
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