A Quote by Ry Cooder
You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?
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Most of the time I don't force records. I'm not one of these guys that put records out every nine, 10 months. I'm pretty long between records. I've only had a few in my career. I kind of wait until I feel I have really strong songs. I don't know if they're going to change the world or not, but I dig 'em, and if I dig 'em we make a record.
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.
If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.
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.
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.
And this week, I am proposing legislation to strengthen our Open Records laws to make public access to our public records surer, faster, and more comprehensive.
I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.
Public housing officials are free to discriminate against you on the basis of criminal records, including arrest records. And so, you know, what you find is that even for these extremely minor offenses, people find themselves trapped in a permanent second-class status and struggling to survive.
What we hear now is great-sounding records with great-sounding grooves and loops. And the sound of these records is irresistible, but the craft of songwriting is just about over. That's why, whenever I get an opportunity to do an album full of standards, I jump at it because I miss it.
I'm not the cool thing, and I'm not going to be the cool thing for a really long time, and it isn't like I'm not the cool thing and I sell 3,000,000 records every time. I'm not the cool thing, and I barely sell 150,000 records, if that, ever. So I'm obviously working really hard to sustain myself. I'm actually a target to be dropped, because that's just not enough records for a big company.
I inherited this collection of vinyl records, which at that time numbered 6,000, and I've since continued to collect music. As you know, vinyl records can be very heavy, so every time I have to move into a new house, I need to build a complete new wall of shelves to put all these records, which is a nightmare for the architect.
I care about the records I make and I love writing songs and some songs are really dear to me and they mean something. But the memory of making the records and the activities surrounding the records, the people involved in them is actually a bigger thing to me.
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.
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.
The first listen is very important to me. Half of my favorite records just hit you in the face immediately with something memorable and within three-and-a-half minutes you know you've heard something really special. I want to make records like that, but it's a big challenge.
To my knowledge there are no good records that have been built by institutions run by committee. In almost all cases the great records are the product of individuals, perhaps working together, but always within a clearly defined framework. Their names are on the door and they are quite visible to the investing public. In reality outstanding records are made by dictators, hopefully benevolent, but nonetheless dictators.
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