A Quote by J. J. Cale
People said my records were 'funky' and 'muddy,' but the truth is they were just demos.
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The first two My Morning Jacket records were basically demos.
As time passed on, got to hear some players who were straight up funky, not just jazz. Nat Adderley, for instance - he's a funky trumpet player, so he was my man.
I look at John Lee Hooker and Muddy Waters, guys who had a fantastic longevity, and I learned something from them. They didn't try to sell records. They weren't saying, 'Ok, what can I write, what can I do in the studio that will sell?' They were just doing their thing, and people picked up on it. I like the idea of that.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
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.
In the years between 2000 and 2004, I always got the feeling that people were just starting to hear about me and they were all late to the game. I'd be out playing shows for records that I recorded back in 1999 that were just coming out.
In the years between 2000 and 2004, I always got the feeling that people were just starting to hear about me, and they were all late to the game. I'd be out playing shows for records that I recorded back in 1999 that were just coming out.
All the music I loved as a child, people thought it was junk. People were unaware of the subtext in so many of those records but if you were a kid you were just completely tuned in, even though you didn't always say - you wouldn't dare say it was beautiful.
All the music I loved as a child, people thought it was junk. People were unaware of the subtext in so many of those records, but if you were a kid, you were just completely tuned in, even though you didn't always say - you wouldn't dare say it was beautiful.
My influences were the riff-based blues coming from Chicago in the Fifties - Muddy Waters, Howlin' Wolf and Billy Boy Arnold records.
I rode on a plane a couple years ago with Snow Patrol and didn't know who the hell they were. They said they were big fans of mine and were playing Madison Square Garden. And they let me listen to one of their records on their iPod. I started to weep.
All the really great records or people who made them somehow came from Memphis or Louisiana or somewhere along the Mississippi River...And singers like Howlin' Wolf and Muddy Waters gave me the feeling that they were right there, standing by the river.
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.
He said that people who loved [animals] to excess were capable of the worst cruelties toward human beings. He said that dogs were not loyal but servile, that cats were opportunists and traitors, that peacocks were heralds of death, that macaws were simply decorative annoyances, that rabbits fomented greed, that monkeys carried the fever of lust, and that roosters were damned because they had been complicit in the three denials of Christ.
We were proud of our first two records, but the parameters were pretty narrow. We didn't have full drums, for example. There were just so many limitations to that setup, and we really fully explored them.
I didn't want to do a double album. I just felt like the last two records I made were like that, and a lot of records I was buying were like that, and it started to feel like it was too much music to digest at once.
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