A Quote by John 5
I've been doing instrumental records now for a long time and built up this little fan base, which is worldwide, and it's incredible how big it's gotten. People really enjoy these records.
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I've been around for such a long time. My first hit record was over 20 years ago and the people who bought my records then are married now and they probably still play these records and their children like them.
My kids love vinyl, I had to teach them how to put the needle on the records. Now they're worried about scratching the records, but it's incredible!
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
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.
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.
I'm a fan of records you get and you listen to them from beginning to finish - records where everything is there for a purpose. There was never any filler on those records - it was all well planned out.
Records have images. There are wet records and dry records. And big records.
Well, almost everything is open - the political documents, the (unintelligible) of cabinet meetings. What has been opened now and what had been closed are things that many governments still close, and that is police files and trial records, trial records of the special courts set up by Vichy. And especially interesting are the trial records of the Purge Trials after the war.
I've always loved records, even when I was a kid, my parents would buy me records instead of a lot of the other toys kids got. That's what I wanted. I've been collecting records and DJing my whole life, and I thank my parents for that. They had a big record collection and really imparted the magic of it on me.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.
The first thing people look at with Four Seasons records is the vocals. But for me, the drum fills and rhythms are as much a part of it as anything. They're the base on which the harmonies were built.
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.
To my knowledge there are no good records that have been built by institutions run by committee. In almost all cases the great records are the product of individuals, perhaps working together, but always within a clearly defined framework. Their names are on the door and they are quite visible to the investing public. In reality outstanding records are made by dictators, hopefully benevolent, but nonetheless dictators.
I inherited this collection of vinyl records, which at that time numbered 6,000, and I've since continued to collect music. As you know, vinyl records can be very heavy, so every time I have to move into a new house, I need to build a complete new wall of shelves to put all these records, which is a nightmare for the architect.
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.
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