A Quote by Shaggy
I did a record with Janet Jackson, and it went to the top of the charts, and we had all of these complications, and she couldn't be in the video and couldn't do anything for the record. I went through something similar with Pitbull. I think it works really well for a lot of other artists, but for me, it just doesn't work that well.
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Well, I never made a record to be in the Christian market. So when I made my record it was to exist in all of the markets. I grew up not really listening to tons of Christian music and if I did it was in the context of all the other music I listened to. So when I made the record I definitely had plans and visions and dreams.
Well the way I ended up with my own record is that I did this concert at Wesleyan University. It was just one night and we had no thought of making a record.
My background is in painting but in school in the sixties, like many artists of that time, I believed that painting was dead. I began to work in collaboration with other artists in the creation of performances and installation works. Soon after, I started making video and photographic works and in the process became fascinated with the media itself. Before long I was setting things up just for the camera. In l970 I got a dog and he turned out to be very interested in video and photography as well.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way. That is what is fun for me.
So, when I got the contract for my album, even though it was an English record, my manager insisted on making sure we would record in Spanish as well, and it worked out really well for me.
With the artists that I named - Michael Jackson, Janet Jackson, Madonna, every time they come out with a new album, something's slightly different. In the case of Madonna, she'll come with one joint that'll be left, and then come totally right, but it's always hot. She's just got style. So, at the end, I want my name to be up there with those artists; for people to say, he's one of those iconic figures you can't put in a box.
I think I'm just trying to show a more mature side of the band and I think we've really come into the sound of our band. With every album we've grown, but I think this is just a really good picture of where we are right now and how we feel our music represents us. Under the thumb of other record companies we haven't had as much creative control and I think with this record we really did our own thing.
I remember when 'Aladdin' had come to India, there were a bunch of people who auditioned. We had to record a video, which I did on my phone. I had worn this red outfit and had to read the dialogues for Jasmine. The scene went really well, but then they also asked us to sing and I can't sing to even save my life. So I really got rejected.
It'd be negligent to say that I don't want to be at the top of the charts. Of course I do, it's proof that your song is being heard. But I think it's more about the work for me and being proud of what I'm doing in music than what people think about my music. I want to like my music before you like it. I don't want to sell anything that I don't really like. I don't want to sell myself short just to get to the top of the charts. It doesn't feel that great. Feeling proud of your work feels greater than being at the top of the charts.
No, if it was up to me every record would be brand new studio material but Atlantic records asked me to put out a full live record because my tour really did do well last year.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
I think my science career had an arc to it that peaked in, let's say 2003/2004. I was in hog heaven, working in a corporation, getting paid pretty good money and doing really exciting research. And we had just done the Cool To Be You record, and I said well, we'll put this record out, but I can't tour it because I just want to do science. That's my gig, my future.
Kaputt was just a record that did really well for us, and therefore our record label and our booking agent said that we should go out and take our message to the world.
I'm a big fan of a lot of prog music. As a record collector as well, I won't throw anybody or any band under the bus, but a lot of the records are fun to collect, are not necessarily very good. There are a lot of prog bands out there that it's a really cool record, but it's, like, not really there.
By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.
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