A Quote by Paul Simon
The record company stay out of my way. Whenever the record is finished, they take it.
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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've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
When we finished the tour we had been writing together for a year. We moved forward from there and have just now finished our record. We're having a new record out in the Spring.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
In order to make a normal-sized record, a singer songwriter should have a couple dozen finished songs. Once they go through the process of production, the ones that scream out at you that they're finished are the ones that make the record.
That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.
Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
People will download the music for free and they'll pay for it if they want to give you a compliment. They don't have to pay for it. And the only way the artist can make money was by touring 'cause the record label didn't take that money. Unfortunately now, cause the record company's not making money from the downloads, now they want to take money away from everything.
I wrote half the record in 2002, which basically concluded with us releasing "Baby's Got A Temper," the last single. I think after the disappointment of that record for myself with the lack of energy and the way the record came out, I would say that was probably the low point of The Prodigy.
No record company in the world would say, 'We're not promoting if you keep calling somebody a snitch.' They know what makes money. A record company would never be that stupid. Ever.
I had a good record company right from the beginning, and I'm still with them after all these years. I think I may be the only person in the world that's had a tenure this long with any record company.
All through the kind of late '80s and '90s, every A&R record company man was saying, 'Now what we want is another record like 'Back in the High Life.' And, of course, that's not the way to make music at all. That's the tail wagging the dog.
I don't have to worry about what the average record company person thinks because I am the record company person.
Do not let any record company disturb your creative flow. You are not writing for the record company. You're writing for the public.
Whenever I release a record, it's my record. It's not a selfish thought. I may work all year 'round for other people. So, finally, when I come out with my own album, it should be me with the creative help of other musicians.
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