A Quote by Tony Bennett
I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs.
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I grew up in an era where the record companies just sold records to everybody, and the whole family bought songs. Today, record companies are failing because they are putting their accent just on the young, and I think that's rather silly.
You used to make records, record companies sold them, and people went to record stores and bought them. That's all gone now.
You could have a zillion Facebook followers. Those people don't buy records. It's about a hundred to one...Record companies, they don't have any money so they see social media as the free marketing...So,...'Billy, light yourself on fire and stand upside down, and that'll market the record'. I've spent a lot of time thinking about this. I don't think people by records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it'.
For me, I've always been intimidated by the computer coming from the era of record industry and record stores and buying records and looking at album covers, waiting in line for records when they came out and then ultimately being successful in a band where we recording pre-computer era.
I think Andy Kaufman is to comedy what the Velvet Underground was to music - it's like, 80 thousand records sold, but everybody who bought one started a band.
If you sold a million records, the only way you could be disappointed is if the guy down the street sold seven million. But you've got to start dodging bullets once you've sold that many records, because everybody wants to kill you. We're not in that position. We can still be very successful and not have to worry about wearing bulletproof vests.
When it all started, record companies - and there were many of them, and this was a good thing - were run by people who loved records, people like Ahmet Ertegun, who ran Atlantic Records, who were record collectors. They got in it because they loved music... Now, record companies are run by lawyers and accountants.
Everybody raps. We rap to make money. We do business. Ain't no other record company out there that sold as many records as we did.
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.
We grew up with all the Fat Wreck Records and all the Epitaph bands, that era. We mixed it up together. We were never purists of being just pop or just pop-punk. We always wanted to blend everything that we love.
I don't relate to what's left of the music business. There doesn't seem to be any point to it anymore. The business that I grew up in and loved, we made records a different way - there were record companies, there were stores where you could buy albums.
My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.
I bought a Three Dog Night album when I was pretty young, and I remember listening to all those songs. That's just greatly crafted songwriting, and the songs have such great harmonies. I remember marveling over those and trying to figure them out on piano. That was my early education - figuring out records, older records, as a kid.
We grew up in an era where there was a lot of fear of HIV. Everybody worried about it and everybody took precautions, and everybody knew that it was a thing that was out there. As it slowed down, it left the spotlight, people forgot.
I'm confused that there is a lack of faith in listening to and deciding what is a great song and instead going for these formulaic, bad songs over and over again. But that's what happened when people from beverage companies bought record labels and radio stations as opposed to people who love music owning record labels.
Rap music and rap records used to always be like this: we get one or two shots to a piece cause it was a singles marketplace and when the major record companies saw that it could also handle the sales of the albums then they started to force everybody to expand their topics from 1 to about 10 and you gotta deliver 12 songs, so a lot of times if you took a person who wasn't really developed, and the diversity of trying say 12 different things, you know the companies were like "Cool! Say the same thing 12 different ways."
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