A Quote by Tom Waits
I don't like listening to records a lot after they're done. There's just no real nourishment there for me.
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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 see myself as real. Like I mean if I was the President I would have a responsibility, because people put me there. Nobody put me here. They just buy my records. They wouldn't buy my records if my records wasn't good. I'm being who i am in the record.
I have a feeling a lot of the records I grew up listening to and the records I still like, as hard as musicians worked making them, I feel like they were really enjoying what they were going through. They weren't just going through the process. You can tell that with certain things that you listen to.
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.
A lot of people make records where there are a couple songs worth listening to and you skip through the rest, and I don't want to do that because those records bore me pretty bad.
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.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
A lot of musicians are super - insecure and they take forever and they obsess over the minutia and it's really stifling. It's not that the band The Black Keys is that confident, it's that we're not striving for perfection. We are just trying to have fun. None of the music that we like is perfect. It's good. And real. We just want to make real records, flaws and all.
I don't spend much time listening to the records when they're done. Usually I let go of it. Especially in the Eighties and Nineties - they were like product, almost.
A lot of love records or breakup records, a lot of the songs can tend to be on the blame side and the bitter side. And this was good for me, writing, because it made me feel like I was forcing myself to be more mature and grow up a little bit. It's not putting the blame on anybody, it's accepting responsibility just as much as the other person.
Most of the EDM tracks right now are not very musical, they have one note that keeps playing. You really don't need to be a musician to do records like this, so I think me playing guitar for so many years and listening to rock 'n' roll and real music helps me when I work with vocalists like Lana Del Ray and Miley Cyrus.
I really like the last three Luna records a whole lot, especially 'Penthouse.' I think of all the records I've done, that's my favorite. I don't know why, really. I don't know why some records turn out better than others. It's not a science.
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.
I look like I'm not listening, but I'm actually listening. I like listening to everything, observing everybody, just taking everything in, and then, in my mind, figuring out what's good for me and what's bad for me.
My records are borderline dance records. They've got a real electro-rock heart and soul, and the vibe of the sentiment is pop, but there's a lot of people that were like, 'This is a dance record.'
I grew up playing in rock bands while I was listening to rap records. I like a lot of stuff.
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