I wish records got made faster and looser with less thought in them, but since touring is so much more profitable than records, you spend so much time on the road that it's hard to work on them. And the records get further and further apart.
I've got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next - since The Police I've mostly made records with keyboards.
I was going to tape some records onto a cassette, but I got the wires backwards. I erased the all of the records. When I returned them to my friend, he said, "Hey, these records are all blank."
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.
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 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.
Anybody I have spoken to who has held a record says 'Records are meant to be broken.' They get excited when somebody has an opportunity to break one of their records and take the sport even further.
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.
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.
As people buy less and less records, it's become more and more important for me to spend more and more on them - to lavish that much more attention on them. The Bad Seeds were always quite protective and old school, but Grinderman has opened us up to do anything and be shameless. We're not so precious about it.
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.
People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.
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'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.
All the records I've made have pretty much been big club turntable records. You need to feel the rhythm.
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.
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