Since the traditional recorded-music business models have drastically changed, there is truly diminished income derived from recorded music by artists - both current and catalog. The touring industry has become much more important as a majority revenue stream and the ancillary fan experiences and promotions that may be derived from it.
When I was a kid, I went through a lot of musical phases, and one was when I'd learn everything that The Beatles ever recorded. After I started drums, I fell in love with their music so much that I just wanted to learn everything.
I'm much more of a kid now than I was when I was a kid. I was the kind of kid who was valedictorian, a straight-A student. My mom used to say, "Please stop studying and get outside."
I've made music for grownups most of my life as a singer/songwriter - often with my band, Nine Stories - recorded many albums, and 10 years ago I started recording kid's music, too.
There's so much talent around here, east London in particular is full of talent. Whether that be boxing or football or music.
I have always been interested in incorporating real places into the music I make. Bringing the outside into the controlled world of recorded sound just gives life and physicality.
I never recorded the music because I wanted to be a millionaire. I recorded it because I love music.
The talent, including the talent for history - and I do think there are people who just have a talent for it, the way you have a talent for public speaking or music or whatever - it shouldn't be allowed to lie dormant. It should be brought alive.
I think the fact that Napster is stealing recorded music is something that we have to stop. It's taking money out of my kid's mouth. That is the way I look at it. It's inherently wrong. It's stealing.
I was a Gordon Lightfoot fan before he ever had a song out. You just knew he was pure talent and he was going to be successful. Gordon has written and recorded some of the greatest music ever.
I always spend too much time on getting the details right. That's the problem with computers. They make it possible to change too much of the music after it's been recorded.
I'm all about talent. I love talent and I want to work with as much great talent as possible. My job as editor in chief is making the most of everybody's talent and pulling that together into a format that's even better than an individual.
I'm a dirty kid, I like to be outside, I like to run about, I like to get messy. So I spent a lot of time outside as a kid, skating and just being a disaster.
The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.
I was a pretty sheltered kid, a slow starter. I was pretty secretive with my passion for music and, I guess, my talent and what-not.
By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.