A Quote by Huey Lewis
In the '80s, the way radio was programmed, if you didn't have a hit record you weren't going to be able to make any more records. That was it, period.
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I think some people record songs and make records a certain way to cater to radio. If you're born to make commercial music that's cool. But if you're born to not make commercial records, maybe you're meant to cater to another market.
Christian songs are more my personal testimony. I don't say things I don't believe in on secular records, but I am going for the hit record.
The more you push the budgets up, the more you make records cost $20, the more you make records last 4 and 5 minutes on the radio.
It's like, on my solo stuff, every single person who buys the record, gets it. On the other stuff, the masses... when you have a hit on the radio, not everyone's going to get it. They are going to buy it for the hit.
The late '90s were a really bad time for people trying to be rock stars, you know what I mean? It seemed like everyone was a one-hit wonder on the radio. We had friends who had a hit single on the radio and sold 500,000 records, and then they couldn't get arrested a year later. I had this feeling at the time that that was not possible anymore, so the idea of becoming the biggest band in the country—it seemed laughable. I felt that having those sort of ambitions was foolish, because there was no way that was going to be possible. If you saw it that way, you were just deluding yourself.
Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.
Any artist, when he goes in to record, should have the feeling that any song he records can be a hit. This may sound egotistical, but it makes sense.
Still, records are documents of a period of time. Most records are documents of two or three years, and I just approached it as a record I was doing over a 20-year period of time.
I wouldn't say I'm underrated, but more reserved. Only time will tell, but I've been good so far in being consistent and making hit after hit writing for myself and other artists, from rap to R&B, and being able to make those different records.
I wish I could make multiple records, stylistically. The way that I'm gonna remedy that is to make a diverse record with a lot of different styles on one record.
People love their favorite records. And I aspire to make a record someone might be able to love in that way.
For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.
Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
With MTV in the '80s, you made your album but then you needed to use any money you made to create a video - instead of being able to use that money to pay for you and your band to live on while you wrote new songs. So MTV upped the ante of looking for one hit. Conceptual bands who didn't have a hit were going to lose.
In the '80s, it was difficult and frustrating to appear in the theater and TV again, even though I had some successful shows and hit records. Now, I have to say, the '90s are the best decade of my life. I've done the best work and, in a funny way, I'm enjoying the most success... more than in the '70s.
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.
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