A Quote by Levon Helm
You can either make it come around or you can't. By the time we would be ready to record a song, we would know for sure that it was the best way we could do it.
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I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.
I decided to make a CD that I would enjoy listening to. So I would finish a song and sit there, and I would say, 'What song, of all the songs I know, would I like to work on now? What song would make me happy?' And that's how I picked the songs.
Could you not give me some sign, or tell me something about you that never changes, or some other way to know you, or thing to know you by?" — "No, Curdie: that would be to keep you from knowing me. You must know me in quite another way from that. It would not be the least use to you or me either if I were to make you know me in that way. It would be but to know the sign of me — not to know me myself.
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.
'Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.
If I had the good fortune of having the ability to influence people all over the world every time I spoke, I would do my best to make sure people understood why the United States of America is special, and then I would suggest that everybody who wants to come here, "I don't blame you, fine and dandy, there's a legal mechanism for this. We're not denying people the right to come to our country. There's a legal way to do it." That's another thing people forget.
I hoped that Grace would be a little bit of the best of all of us: Scarlett's spirit, and my mother's strength, Marion's determination, and Michael's sly humor. I wasn't sure what I could give, not just yet. But I would know when I told her about the comet, years from now, I would know. And I would lean close to her ear, saying the words no one else could hear, explaining it all. The language of solace and comets, and the girls we all become, in the end.
I always knew I wanted to do music, but it took me a long time to figure out how to exactly do that. With my first record deal, everything kinda fell apart. I wasn't ready for it, I didn't know how to handle the business side at all. I thought as soon as I got a record deal, everything would fall into place and I wouldn't have to really do any work anymore. I could just make music, and be successful. Well that was not the case and everything fell apart for a period of time.
I think I would cope like anyone copes with any tragedy. I'm sure I would be very upset for a while and then there would come a point where I would either have to stay in this place of darkness and anger, or I'd have to accept that it happened.
I would give someone a record so they could love the record, not so they would always know that I gave it to them.
I wanted to make a record with a twist. I wanted to prove that you could make a record that concentrated on song craft but that was still fun, something you could listen to and love and even dance to, but not hate yourself in the morning. I think I did that. Most of my lyrics come from my own personal journals that I have kept over the years.
It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.
That was an idea of the record company, and also that was my first album after MCA and we wanted to come back with a strong album that would be noticed. If we put the vocals by very talented people and very meaningful songs, then the vocals would be a platform so that I could be noticed again. All of the MCA albums were just loaded with problems -- you know, the right musicians, the engineers. The record company would say 'You have to make music for black radio, you can't do what you have been doing with The Crusaders.' Everybody was telling me that was over, finished, done.
I got the feeling Poseidon really didn't know what to think of me. He didn't know whether he was happy to have me as a son or not. In a strange way, I was glad that Poseidon was so distant. If he'd tried to apologize, or told me he love me, or even smiled. it would've felt fake. Like human dad, making some lame excuse for not being around. I could live with that. After all, I wasn't sure about him yet, either.
That tide of insecurity would come in and out over the years, sometimes stranding me for a while but occasionally lifting me just beyond what I thought I could acomplish. Either way, it would wash over the same bedrock certainty: ultimately, I know myself.
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