A Quote by Jim Capaldi
They gave it to us for about five bucks a week, and we just went there to live. Probably the first band that ever did that back then and it became the famous cottage.
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It ["Begin the Beguine"] became such a hit that it superseded anything that any band had ever had. It was the first time that a so-called swing band played something melodic and still gave it a beat.
My band did the Teenage Fair battle of the bands - problem was we were 11 years old! They gave us a prize for youngest band ever.
I remember the first time I received a cassette tape of a band called The Clash. I became an instant fan of the Clash and then bought their albums after that and went to their concerts and gave them my money... but I first got it for free.
What I found interesting about Slava Fetisov was that he went through three different generations of Soviet hockey. In the late 70's, he experienced the Miracle on Ice, and then in the 80's became with his teammates the Russian Five, the most dominant team in the history of hockey, and then helped bring down the hockey system when the Soviet Union collapsed and became one of the first players to play in the NHL, and then ultimately came back to Russia.
Back then, all the networks were still making a movie a week, virtually. So I did five of them that year. So it was just a nonstop... '92 was a great, nonstop ride in Vancouver.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
I'm a Brit and I just put myself on tape, back in London, for a very distant American project that I thought I didn't stand a chance of getting. And then, I got a call about a week after I had submitted my tape, just saying, "They really like you and want to screen test you." So, I flew to L.A. and did the screen test. And then, I met Elijah [Wood] and did a screen test with him. And then, I had a very nerve-wracking few days back home, waiting and waiting and thinking, "This cannot possibly go my way because that would just be too good to be true." And then, it did.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
They gave their money, and they gave their screams. But the Beatles kind of gave their nervous systems. They used us as an excuse to go mad, the world did, and then blamed it on us.
When I was about five, I gave my heart to Jesus Christ, and since then it's just been a stronghold in my life. Really, through the shark attack and all the hard times that my family and I went through, it gave us unity and perseverance to push through all this crazy stuff that we never knew was going to happen.
The name came from, erm... us all just agreeing on a name that we liked. There was talk of Swans at first, but there was already a band called Swans, way back in the eighties. An American band. So we thought, well, we can't have them, and I think Andy said, "well what about Doves?" We ruminated it around the three of us and went, well, it's not so bad, it's all right.
We usually break the story first. For instance, on The Monuments Men, and this one is more complicated because there's a lot of history, so before we started, we sat down with Robert Edsel, the author of the book, for about a week, and basically, he just gave us a lecture and went through everything. And then, I had a researcher, somebody who we had actually used on Argo.
I wanted to just get a job so I could have enough money for my own apartment and be able to get drunk. And I did. Back then, on $125, you could do that in Manhattan. I was 19 years old the first time I got published and paid. I think it was a hundred bucks. I stared at my name on the check for 20 minutes.
I remember that first week at the Whisky and the gigs we (The Buffalo Springfield) did with the Byrds, We could really smoke ! That band never got on record as bad, and as hard as we were. Live we sounded like the Rolling Stones.
Turn right up ahead," he directed. "It'll take us directly to my cottage." She did as he asked. "Does your cottage have a name?" "My Cottage." "I might have known," she muttered. He smirked. Quite a feat, in her opinion, since he looked sick as a dog. "I'm not kidding," he said. Sure enough, in another minute they pulled up in front of an elegant country house, complete with a small, unobtrusive sign in front reading, MY COTTAGE
I started doing stand-up at the age of 20. This was back in 1976, around the time (coincidence?) that the first comedy clubs were starting. The young comedians of today gasp when I tell them how many shows I did that first year: 500. Five nights a week.
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