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.
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.
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.
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.
When I was a bit older I had all of the George Carlin records, all of the Steve Martin records, all of the Cheech and Chong records and all of the Richard Pryor records.
I'm a fan of records you get and you listen to them from beginning to finish - records where everything is there for a purpose. There was never any filler on those records - it was all well planned out.
The fans are the end result of what we do. Sometimes I think we forget that those are the folks that mean it in this game. There's plenty of evidence to be found that you can have all the #1 records in the world, but if you really ain't touchin' them, you don't come home with gold records and platinum records. I'm very proud that we've only had one #1 record, but we've sold two and one half million!
If you listen to 'Electric,' 'Entourage,' and 'Been With A Star,' all those records are records that I dug into the crates for to help me create that feeling of old funk. No one makes records like that anymore.
Wray's FBI is stonewalling on Clinton email investigatory materials, Strzok-Page texts, Comey records, McCabe records, FISA court abuse records, Spygate records.
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.
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?
Those early steps are very important in understanding the evolution. But in themselves, maybe now you need the later records to understand the significance of the earlier records!
My brother gave me my first records when I was about 3 or 4 years old, because he bought a lot of records. And he was very nice because he gave me the records he thought I'd like more.
Records have images. There are wet records and dry records. And big records.
The good thing about songwriting is you don't have to delineate between what's true and what's fiction; records aren't put on the shelf that way. Books are, movies are, but records aren't.
No one sells records anymore. It's all about touring. It's all greatest hits records and box sets. And even those don't sell. People just go online.