A Quote by Robert Coppola Schwartzman
For the most part, I like to record music as I write it.
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When I write, it's intimate. I write in the car, and I don't even hear, like, ambulances driving past me because I'm in my car, listening to the music, writing. I record in an attic with no booth. It's not like I'm in the dark with candles, but it's like a house, a home, and I record like that. I think that plays into the music.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
Brazilian music has been a part of almost every record I've done, and I'd eventually like to record an entire album of Brazilian music.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.
I always try to write a song, I never just want to write a record. Originally I was not writing songs for myself. ....And I can say this, most of the people who have recorded my songs are songwriters themselves. ... Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential. When you write a song, a song has longevity. ... So I wanted to sing inspirational music, and that's exactly how I approached it-only the words have been changed to declare my relationship with God. Songwriting is my gift from God.
My only real hobby is playing music. I write a lot of music on guitar and keyboards and hope one day to make a record or maybe even write the score for a film.
Some musicians make and record music; other musicians play in a band... I just make and record music, and I don't feel a part of anything in any music business.
Judge Roberts' civil rights record and views remained the most controversial and unexplained part of his record when the Judiciary Committee hearing concluded, just as his civil rights record and views had been the most controversial part of his record when the hearing began.
I got on the phone with the president of my label and I said, "Obviously, I write songs in a lot of styles and play a lot of different kinds of music. We're getting toward the end of our business collaboration. If you could envision a record that you wanted to hear from me, what kind of record would it be?" It wasn't like asking him to fill an order, it was really just a conversation. For all the things I'd ever asked him, this was one thing I'd never asked, and I don't know why. So I was curious. And the thing that he was most interested in hearing was a solo record.
I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.
Music is an important part of our culture and record stores play a vital part in keeping the power of music alive
I can't write from the subconscious actually, because a lot of the time when I co-write with other people, I'm writing for them as opposed to for myself. When it comes to lyrics, I tend to want to give them their voice, since it's most likely going to be on their record, or somebody else's record. And I find for more commerial-style music, people want simplicity, less vagueness, and less space to fill between the lines, so to speak. So I can't be quite as ethereal and mystical.
The imminent demise of the large record companies as gatekeepers of the world's popular music is a good thing, for the most part.
I find it very difficult not to write in any sort of Sudanese style. With Sudanese music, there are very specific things that happen with the syncopation of the drums, melodies and stuff. And whenever I write, that's always the first thing that comes out, because I grew up listening to it. It's a part of me, so I try to bring that out in the music. I think that you have to be honest with what you do, and that's the most honest thing that I can do, is to write that way.
That powers my desire to write: the sense of how quickly everything on the surface of life can be cut away and you can suddenly be inside the most inner part of the most inner life of a person. What does it feel like there, and what are the regrets and sensations and longings, and what is the music of it?
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