A Quote by Klaus Schulze
I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.
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I don't wait on the music industry to qualify me or give me my paycheck. I go about my business as an artist and I believe that my value is in my product and in my art form, and that's why I can't be stopped, because I began producing my record by myself, without a record company.
Music has always been a great solace for me. It's still something that gives me far more joy than movies, I must say. I love movies, too. But somehow, music can transport you. There are so many different kinds of experiences you can have with music.
My record company had to beg me to stop filmin' music videos in the projects. No matter what the song was about, I had 'em out there.
I try not to think too hard about music. I like to see where it goes. I try not to give it a direction. I figure out what it is as it's forming. I don't have any goal in mind other than to make the best music I can.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
The author's conviction on this day of New Year is that music begins to atrophy when it departs too far from the dance; that poetry begins to atrophy when it gets too far from music; but this must not be taken as implying that all good music is dance music or all poetry lyric. Bach and Mozart are never too far from physical movement.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.
When I listen to music today, it is about 99 percent classical. I rarely even listen to folk music, the music of my own specialty, because folk music is to me more limited than classical music.
But I did mine through a production company. All the music I did, I gave to the production company. Then the production company would give the record company the album. I used to do all my albums like that. It was fantastic. But now, understand, I have never planned to do anything with these other tapes. The one that are released, like the Virgin Ubiquity you have there, I wasn't going to do anything with that music. One day, I was talking to this guy that owns BBE over in England, and I said I've got some tapes and stuff that you might be interested in, and he went berserk.
It pleases me that Frank Sinatra's music still has an audience, because many people who have come into the music world and then passed out of the music world are long since forgotten. He has been able to enjoy this great longevity.
So many girls come up and say to me, 'I have never listened to country music in my life. I didn't even know my town had a country-music station. Then I got your record, and now I'm obsessed.' That's the coolest compliment to me.
Art is basically communication, and I think everyone who's a music lover has had that experience where a record or a recording has kept you company when no one else is around. And I think that is what I'm hoping that people get out of my music.
It's hard to get people at a record company to talk about music. They don't seem to want to talk about music, it's all marketing, and that's part of a record, you gotta get it out there, people have gotta hear it, but you could do it in a way that's not repulsive.
I'd never record digitally. It's not because its' a horrible way to record, it's just not the best way to record my music, because my music is rawer, darker and a little more nostalgic.
My contract with mercury PolyGram Nashville was about to expire. And I never had really been happy. The company, the record company, just didn't put any promotion behind me. I think one album, maybe the last one I did, they pressed 500 copies. And I was just disgusted with it. And about that time that I got to feeling that way, Lou Robin, my manager, came to me and talked to me about a man called Rick Rubin that he had been talking to that wanted me to sign with his record company.
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