A Quote by Kenneth Branagh
The records - what little we know about Shakespeare, including the records of the plays in his playhouse - were often the story of how quickly they came off if they didn't work. They had to move on. They were absolutely led by box office.
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Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
My mom had early rap records, like Jimmy Spicer. In the middle of the records was a turntable and a receiver - I used to scratch records on it - and on top was a reel-to-reel. In front of that wall were more stacks of records. It was either Mom's record or Pop's record, and they had their names on each and every one.
We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.
Alan Ladd was a marvelous person in his simplicity. In so many ways we were kindred spirits. We both were professionally conceived through Hollywood's search for box office and the types to insure the box office. And we were both little people. Alan wasn't as short as most people believe. It was true that in certain films Alan would climb a small platform or the girl worked in a slit trench. We had no such problems together.
Being a guy who was a geek with tape machines in the early days and really interested in how records get made, I was inspired in particular by how the Beatles were innovating when they were making those records late in their career while using the studio in a maximal way.
All my records were dance-oriented, and all the hassle with major labels about changing my records, release dates, videos - everything was out of my hands. I always had to deal with somebody else, and I had a different perspective on a lot of things.
We'd take records you'd never hear in clubs and make them into club tracks. We were doing B-sides on records that had nothing to do with the songs, and calling them Masters at Work dubs.
Our records, if you have a dark sense of humor, were funny, but our records weren't about comedy. They were about protests, fantasy, confrontation and all that.
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.
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 was thinking about how people were upset about the information that came out from Snowden about the NSA - many people were upset, including myself. But I was kind of surprised by how little we did about it - how little fighting we did.
Yes; my brother Bobby used to distribute records at King Records. I had a job there, too, packing records up and shipping them off. But I always wanted to play sessions at Stax, so I figured out a way to do it.
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 got to meet Kanye West because we were shopping my artist deal, and I was interested in his label. When I met him, I played him all the records I had. He introduced me to Rihanna, and she recorded and cut some of those records.
When I first starting making beats, I didn't know samples were being used in any beats. I had no idea where producers were getting the real string sounds or the voices on their tracks. I knew nothing about loops or sampling off of records. So, by me knowing nothing about this it made me concentrate on my chords on the keyboard.
Fame came quickly. I was only 19 when I secured my initial recording contract and my first two hit records - 'Are 'Friends' Electric?' and 'Cars' - were number ones.
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