A Quote by Robbie Robertson
I thought of a lot of people from the same era when I was making a lot of records that had continued making a lot of records. A lot of it didn't seem terribly inspired.
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A lot of people felt I was getting work because I was Boy George. My response at the time was that there's a lot of DJs making records, they're not all making good records, but they have the right to do that.
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.
People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
Television is not like making records. I wanna tell all you kids, do not try this at home, 'cause it's hard. It takes a lot of hard work, a lot of practice, and a lot of different takes.
I think a lot of the fun of making records, for me, is making each one of them a situation. For example, with 'Ghost,' I found a group of people that had an energy together, and we kind of did it in a cabin somewhere.
A lot of people do records, and they get hit records, but we were blessed with a lot of monsters. 'Oh Carolina' was a very monstrous record in 1993; so was 'Boombastic,' 'Angel' and 'It Wasn't Me.'
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.
There's not a lot of precedent for weird, bald musicians in the Lower East Side making records in their bedrooms and going on to sell a lot of copies of the record. Especially if you look at the pop climate.
I grew up in a very music-loving home with a lot of records, a lot of TV, a lot of radio, a lot of video - VHS cinema, basically.
I thought that some of my best records was when there wasn't a lot of work being done on it, like 'Winter in America' and 'Secrets' and when there weren't a whole lot of people in the studios.
I'm a businessman. Making records is my business. I have a big operation and I employ a lot of people.
I do see a lot of young artists who write records or sacrifice records, because there are a lot of older artists who are preoccupied; they don't have as much time as they used to to be in the studio.
I grew up on listening to, like, Mantronix and BDP and EPMD and Kool G Rap and Ultramag and Public Enemy and Fat Boys and Run DMC and a lot of those early records, those Rubin-era records. Those were always snare- and stab-heavy records.
I have a lot of analog. I think a lot of people do. There are a lot of people that are re-discovering it. I still have a lot of my old records from back in the day. It's a joy to play things like Junior Wells' 'Hoodoo Man Blues,' and John Mayall & The Blues Breakers with Eric Clapton. There's a warmth that you can still feel.
A lot of photography is making records of people, as objects, friends. It's like organizing a wardrobe - in terms of size etc.
'Beautiful Loser' had a lot of great records. It had a lot of really heartfelt songs on there. But I felt, at the time, it didn't have it's own cohesive sound.
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