A Quote by Jermaine Dupri
I was the youngest producer to have a No. 1 record when Kris Kross first came out, and that was a record I held for I don't know how long.
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When the first record came out, I'd go down to radio stations pretty much every day to get the record played, and I would walk in and they'd tell us how much they loved the record, but they weren't sure how much they could play it because they were already playing a girl.
By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
When I was growing up, you would put on a KISS record or a UFO or Aerosmith record and listen to it from the first song through the last song. It's been so long since a band has put out a record like that.
A producer gets the whole vision done from top to bottom, to making the record to having the record delivered to the world. That's a producer.
My first record - it was 1991. I was 16 years old. My first album came out when I was 20. So, I've been here that long and I still have the passion to do it.
Far Behind' is a single from Candlebox's self-titled record from 1993. The record came out on Madonna's Maverick imprint and went quadruple platinum, regardless of how much it sucked.
I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.
My record producer [David Kahne] said the major record labels these days are like dinosaurs sitting around discussing the asteroid. They know it's going to hit. They don't know when, they don't know where it's coming from. But it's sort of hit already. With iTunes, and all of that.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
My first record I ever got was 'Full Moon Fever.' My dad gave me a copy when I was maybe nine years old or something. And I listened to the heck out of that record. I loved that record.
I remember the first 45 record I bought. It was called 'A Dog a Donut'; it was a breakbeat. Actually, I think I bought two at one time, and the other one was 'Dance to the Drummer's Beat.' Those are breakbeats. I paid a dollar for it, for each one. Your average producer or DJ would know who came out with those.
I kind of, I have quite a clear idea of what I'm trying to do with a record. A Super Furry Animals record is always an adventure, because there's five members of the group and everyone is a producer, we all throw in ideas, and regardless of who writes the song, the songs always get pushed around and shape-shifted to fit everyone in the band. So when I start a record with Super Furry Animals I can never predict how it'll turn out.
It makes sense that that's part of the story and everything, but that's part of any story of any record - where was it record and how long and what were the people doing. I think people want to know where these events are made. That's why I like the word "record."
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.
I wrote half the record in 2002, which basically concluded with us releasing "Baby's Got A Temper," the last single. I think after the disappointment of that record for myself with the lack of energy and the way the record came out, I would say that was probably the low point of The Prodigy.
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