A Quote by Roland Gift
Our managers hadn't had that kind of success - the record company hadn't, we hadn't - and the feeling was that the next record had to be even bigger, and if it wasn't it would be some kind of failure.
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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.
I had success. I had a number one record. I had a number one album. I have to make this kind of record again or else I'm going to lose it all. That's how you end up making the same song over and over.
Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.
Despite the fact that Starbucks has grown to be a large company. We've always played music in our stores and has always acted as an opportunity to create a mood in our stores. And customers started asking, "What song are you playing and can I buy that?" . And we said "No." And that was kind of the catalyst for beginning to look at music. We started out with our own compilations and after the success of that. We had the courage to say, "Let's produce our own record." and the first record was with Ray Charles before he unfortunately passed away.
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.
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
On every Bright Eyes record, there's some kind of sound collage that begins it. Some of them have dialogue, some don't. I like it because it can kind of slow down the attention span a bit. It's a way to draw you in to the rest of the record.
Despotism has forever had a powerful hold upon the world. Autocratic government, not self-government, has been the prevailing state of mankind. The record of past history is the record, not of the success of republics, but of their failure.
Most of my records are never going to be commercial successes, and I don't expect that. It's just all a learning process to me. If something appears as a failure, fine. If there's success, fine. I like the record, and my friends like the record, and that's kind of all I can really care about.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
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.
The idea was that the record itself ['The Bones Of What You Believe' ] is a kind of labour of love for us - all our energy and all our passion and all the stuff we believed in is in that record, so you're kind of handing that off to other people, if that makes sense.
When I heard Charlie Parker the first time on a record, it had seemed like an old, scratchy kind of record and I didn't get it.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
Some record labels want to package you in a certain way and we didn't want that. Once the record company saw we had some substance and were not a one hit wonder. They got 100% behind us.
We were making 'Tragic Kingdom,' and we were kind of battling with the record company. It was just being drawn-out, in the same kind of situation where we were all working, we all had jobs, we were going to school.
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