A Quote by Joseph Bruchac
Very good records exist about the Trail of Tears. Journals and other records kept by Cherokees and non-Indians tell such things as which people were where on which day.
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We hear a lot about theological justifications for the conflicts, but very little about the scientific evidence, which in no way supports them. The time period in which Moses was leading his people out of Egypt, into the Promised Land, the Promised Land was Egypt. We know that. Archaeological records are very clear. The Egyptians were avid bureaucrats even in those days and kept very scrupulous records. I think it's important for us to realize this conflict is built on a legend. It has no scientific support.
It is amazing to me that so little is still known about the Trail of Tears or the lives of the Cherokees themselves.
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.
With my records, it's just a matter of trying to create something fresh for myself in a very finite context, which is the pop song. I don't know anything about the people who buy my records, and what, if anything, they get out of them.
If history records good things about good people, the thoughtful hearer is encouraged to imitate what is good; or if it records the evil of wicked people, the godly listener or reader is encouraged to avoid all that is sinful and bad, and to do what he knows to be good and pleasing to God.
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.
The real amazing thing about all of this is I think I've maintained the mentality of a musician throughout it all, which I'm proudest of. And I'm still playing on people's records and singing on people's records.
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'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 kept listening, kept going to see people, kept sitting in with people, kept listening to records. If I wanted to learn somebody's stuff, like with Clapton, when I wanted to learn how he was getting some of his sounds - which were real neat - I learned how to make the sounds with my mouth and then copied that with my guitar.
Though tax records are generally looked upon as a nuisance, the day may come when historians will realize that tax records tell the real story behind civilized life. How people were taxed, who was taxed, and what was taxed tell more about a society than anything else. Tax habits could be to civilization what sex habits are to personality. They are basic clues to the way a society behaves.
Sometimes I'd hear things on other people's records and I say I wanted it on my records, but Leslie Kong said, no, it wasn't right and that it wasn't my style.
I know most of my records are real good but I know that there are definitely things I would've changed at the end of the day. I work on things forever, and there are things I wish I didn't do, but ultimately I know the records are good. I kind of let go of big expectations, maybe because hopefully that means if I don't have them, that it'll do really well, but you just never know.
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.
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
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.
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