A Quote by Jason Isbell

A lot of people make records where there are a couple songs worth listening to and you skip through the rest, and I don't want to do that because those records bore me pretty bad.
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.
I care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.
I bought a Three Dog Night album when I was pretty young, and I remember listening to all those songs. That's just greatly crafted songwriting, and the songs have such great harmonies. I remember marveling over those and trying to figure them out on piano. That was my early education - figuring out records, older records, as a kid.
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.
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.
People still come up to me and ask me to sign their records. That's right, records! Man, they don't even make records no more!
My brother gave me my first records when I was about 3 or 4 years old, because he bought a lot of records. And he was very nice because he gave me the records he thought I'd like more.
Most of the time I don't force records. I'm not one of these guys that put records out every nine, 10 months. I'm pretty long between records. I've only had a few in my career. I kind of wait until I feel I have really strong songs. I don't know if they're going to change the world or not, but I dig 'em, and if I dig 'em we make a record.
Bob Dylan's first couple of records in the 60's weren't considered cover records, but he only wrote one or two original songs on each album.
I kind of decided that doing music is enough because I'm already running a couple small businesses. I'm a part of Bikini Kill Records, Le Tigre Records, and Digitally Ruined Records. In dealing with my health and everything, my ability to do that? I wouldn't be good at it.
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.
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.
I realize you are going to make mistakes through life. Just don't make any bad ones, you know. Like all of my records are perfect records, but I did make mistakes on them.
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 didn't want to be a solo Westlife - covers and ballads - and the reason I signed with Capitol Records was because they wanted me to write songs myself. It was pretty scary, but they put me in a studio in Nashville with some new songwriters, and the results were pretty good.
I own records that have the power to make me cry. Records to be by or with - truly precious possessions. It is the ambition of the Midnight Runners to make records of this value.
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