A Quote by Taj Mahal

The one thing I've always demanded of the records I've made is that they be danceable. — © Taj Mahal
The one thing I've always demanded of the records I've made is that they be danceable.
I've never had anybody produce my records. I've always produced my own records. I've worked with a guy for a while who was an engineer who helped me produce records, but I've always made my own records. I'm a control fanatic. I've got to control everything.
I made records in the past that are as traditional as any other country records that have been made, but at the same time the records have a contemporary slant on it too.
That's the thing I love the most - making records and creating new things. That's always the thing that grabbed me. Making records is the thing that I really love.
We moved into the back, made it into a little 50s sitting room and started to sell the records. We had an immediate success. For one thing, these Teddy Boys were thrilled to buy the records.
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.
Most artists are making as much money now as they could have made... in the heyday of Def Jam [when the] Beastie Boys would sell 10 million records or DMX would sell 6 or 7 million records. Those records are one thing, but then all the other ways to exploit the emotional relationship between artist and community is so much greater that I would guess that they're making as much or more money than they could have ever made.
I never was a liner note junkie. I didn't know who produced records or there was such a thing as a straight songwriter. I always assumed that everybody that was singing a song wrote it or made it up.
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.
R&B and all that stuff was always very spare and spontaneous. Nobody made those records under solid gold situations. It was just in and out, and you didn't labor over the thing. I like music like that.
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.
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.
There's really no money per se to be made on records. We used to make a lot of money on records. Now, all of our money is made on touring.
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 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.
Washington society has always demanded less and given more than any society in this country--demanded less of applause, deference,etiquette, and has accepted as current coin quick wit, appreciative tact, and a talent for talking.
I always made a few records in the past - 'Aston Martin Music,' 'Diced Pineapples' - that the ladies would always be able to appreciate.
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