I'm the ultimate record fan. I still go out and buy records.
I see myself as real. Like I mean if I was the President I would have a responsibility, because people put me there. Nobody put me here. They just buy my records. They wouldn't buy my records if my records wasn't good. I'm being who i am in the record.
I don't think people buy records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it.'
Some people buy records just to dance to 'em. Some people buy records to listen to the radio. And there's people that buy records 'cause they listen to every song.
The streets buy records, but they don't really buy records in incredible numbers.
Live Free or Die Hard may work better for an audience that doesn't know much about the series is than it will for Die Hard die hards, who will be wondering who that impersonator is and what he did with the real John McClane. The original Die Hard came out of nowhere to blitz the 1988 summer box office. The fourth installment arrives with a weight of expectations that Atlas would have trouble shouldering and, when the dust settles in September, it's unlikely that Live Free or Die Hard will be one of this year's big success stories.
It's rare that the sequel to a good movie lives up to expectations. Such is the case with Die Hard 2, the somewhat-muddled but still entertaining return of Bruce Willis' John McClane. Fortunately, the original Die Hard was good enough that there's room for the second installment to be enjoyable while still not matching the pace or possessing the flair of its predecessor.
Once you get to 22 or 23, you're already old school. It's the bubblegum ones that buy records, have fun, party. You get older, you get sophisticated, and you don't go buy no records too much.
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.
As long as bands are still out there slaving away in the garage and putting out their own records and just pushing the envelope for how songs should be written or how they should be played, punk will never die.
I think it's ridiculous to try to sell records to teenagers, because teenagers don't buy my records. And there ain't that many teenagers out there in the marketplace.
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.
I was a die-hard fan of these books [The Hobbit] before the films ever came out. And when I say die-hard, I wasn't the person who could speak Elvish, but I really loved them.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.
I have watched independent record stores evaporate all over America and Europe. That's why I go into as many as I can and buy records whenever possible. If we lose the independent record store, we lose big. Every time you buy your records at one of these places, it's a blow to the empire.