A Quote by Irene Cara
The situation is not good with the record companies. It's just not working out, so I don't plan to record until it's straightened out. In the meantime I'm happy doing my movies and writing the music for the theme songs, whether I sing them or not.
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I've always thought that whether I'm writing or not, I've gotta pick the best songs, whether or not they're mine. I'm not gonna sing them just because I wrote them. I've gotta find the best songs to make the best record I can.
In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.
If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.
I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs. Today, record companies are failing because they are putting their accent just on the young, and I think that's rather silly.
Music is very, very important in my movies. In some ways the most important stage, whether it ends up being in the movie or not, is just when I come up with the idea itself before I have actually sat down and started writing. I go into my record room... I have a big vinyl collection and I have a room kind of set up like a used record store and I just dive into my music, whether it be rock music, or lyric music, or my soundtrack collection. What I'm looking for is the spirit of the movie, the beat that the movie will play with.
I'm writing a record of comedy songs. I'm doing all these collaborations with artists. I bring them lyrics and they write the music to it.
I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.
I can't relate to the process of just disappearing and writing a record, all at the same time, followed by the sort of drudgery of going out on tour and trying to recreate the record, playing the same 12 songs every night.
When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.
When you make timeless music - and I like to think that's what I'm doing - the fun part is picking the songs. You can clip and flop and mix and match, and when the record is timeless and it feels good, you know it's going to have the same appeal whether you put it out now or 10 years from now. That's what I'm about.
In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
I write songs. Then I record them. And later, maybe I perform them on stage. That's what I do. That's my job. Simple. I don't feel comfortable doing interviews. My profession is music, and writing songs. I like to do it, but I hate to talk about it...Music is spiritual. The music business is not. Being famous was extremely disappointing for me. When I became famous it was a complete drag and it is still a complete drag.
I love good momentum. It makes everybody happy and in this time that we're living in, especially musically speaking, if you can make a record that has more than 4 or 5 songs deep and it has a good variety of songs. You don't frontload it with those first couple of songs. You continue the record taking the listener on a journey, musically speaking. I think you've really got something there.
I always said, if I got a record deal, I'd want to record the best songs I could, whether I wrote them or not.
I have hundreds and hundreds of songs waiting to get on albums, but I don't know about the three-month radio tours and if I'll be interested in that. I haven't figured it out, but I will definitely be doing music, whether it is independent or with a major record label.
I think my science career had an arc to it that peaked in, let's say 2003/2004. I was in hog heaven, working in a corporation, getting paid pretty good money and doing really exciting research. And we had just done the Cool To Be You record, and I said well, we'll put this record out, but I can't tour it because I just want to do science. That's my gig, my future.
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