A Quote by Lesley Gore
We recorded the record on a Saturday afternoon March 30th and I heard the record for the first time on April 6th. I was driving to school, literally seven days later.
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Every record has been very different, so I can't really compare them. The first record was good. I originally recorded about half the songs on that one in 2003 or something, and then I went back a few years later and re-recorded them and added some other songs.
The first record we made in three days. We literally stayed up for three days making the first album. It was crazy, crazy, crazy for us to do that. We couldn't believe anyone would give us a record deal. I look back on that record fondly but with just the slightest bit of a cringe.
The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.
When I heard Charlie Parker the first time on a record, it had seemed like an old, scratchy kind of record and I didn't get it.
In 1980, I moved to Chicago, and I recorded demo tapes for my friends' bands, and in 1981, the first Big Black record - the first thing I did that was an actual record.
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.
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
We had such a small budget making our first record, and the only way we could make it work was that the record company would find studio time in the middle of the night - literally, that was so cheap that we could afford to do it.
When I was growing up, my mother would always say, 'It will go on your permanent record.' There was no 'permanent record.' If there were a 'permanent record,' I'd never be able to be a lawyer. I was such a bum, in elementary school and high school... There is a permanent record today and it's called the Internet.
When I was growing up, my mother would always say, 'It will go on your permanent record.' There was no 'permanent record.' If there were a 'permanent record,' I'd never be able to be a lawyer. I was such a bum in elementary school and high school... There is a permanent record today, and it's called the Internet.
There's all these people involved, and it becomes this huge machine - it stops being just me making my own little songs for myself, or for the world. And it's hard to stop the machine. If you want to take time to write a record, they're like, "OK, tour through March, April, and June, then you can take a few weeks off to record in July before getting back on the road for the European festival circuit." After a while, I had to put my foot down.
When I first heard 'Let Me Love You,' I knew immediately it was going to be a hit. I believed in it and I had to literally force it down the throats of his record label, who weren't believers at first.
The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!
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 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.
Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.
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