I think the album 'Nothing Personal' is a lot more grittier and a lot more honest from a lyrical standpoint. Also, musically it's the most intricate and most thought-out record that we've ever recorded.
I missed out on the Spice Girls. I missed out on all those big pop phenomenon and missed out even on the Madonna records. It's okay, cuz I'm playing catch-up on everything now.
The internet is such a strange place. You can put up one thing on there like, Katy Perry was a taekwondo master of the black belt! When really all I did was one kickboxing class. That's how I think my short time in doing my gospel record was like.
I did my gospel record, but there was nothing really of it. Maybe a hundred people bought it. But it's one of those things on the internet that people find and they make into a big deal.
They think that I was like Amy Grant, when actually no! The label went bankrupt and maybe sold a couple hundred records and that's about it. I was just trying different things.
When I put out the records, when I make a distribution deal, those distributors tell me who they sell it to and how many copies. So I want nothing less.
Live concerts were to train the ears and to introduce, constantly, new musical ideas to the audience so the next time they showed up or the next record they would be ready and receptive.
I took the song The First Time Ever I Saw Your Face from a folk singer called Bonnie Dobson. I knew her and she had a record with that track on it.
Of course I knew The Band's Canadian keyboard player, the late Richard Manuel, but I didn't play that night because I was there as a guest with my record executives. People ask, "why didn't you play?" If I had known I was going to be playing then I would have been prepared for it.
I think that the activism I've become involved with informs and enhances my life in a lot of ways, and definitely career-wise. This record wouldn't exist [without that activism], for one.
I will challenge anybody with regard to my record on LGBT issues.
Only a very small proportion of us take those excesses with us into later life. In the age before everyone had a camera, it was worthwhile, in my opinion, to record those excesses. Sometimes, many times actually, the young people I photographed were only dressed that way for one night; that one night that they got snapped by me.
Nowadays everyone has a camera and the Internet means everything is instantly accessible. Unlike some photographers, I don't see this as a problem. If anything interesting happens in the world today, there will be someone around to record it.
The feature film business, the studio film business, feels to me like there's just nowhere else to go. It's like a record that's just skipping at the end, with the needle stuck in the run-out groove.
My first record wasn't even with the Fugees. I was signed to Big Beat Records, so I was signed back in 1989 to the label that the Knocks are on now. You can always tell which generation had the pulse based on how they see things.
Since I shoot, record audio and edit, I was able to begin the filming without hiring a crew and create a sample to show broadcasters and grant organizations.
I thought if I gave people all of my journey in one go, it could be overwhelming and easily forgotten, and I didn't want to make an album where the single was so popular that you overlook the whole record. So three parts felt right - it's a number that can't be divided into.
I just want people to feel the emotion that's in the record. For me it's very raw and beautiful, I guess it's kind of like a diary for me. I'd love for people to be able to listen to it and it make them dance and cry and the same time.
I don't know if there is an existing model that anyone can hold on to right now. Every [piece of] advice about how to go about in the record business you would get 5 years ago is no longer valid. Everything is changing very rapidly and there is an increased sense of anger and despair among artists that are not major-selling megastars.
When I record music I like to be in one place and kind of have a base to keep going back to.
I really got to fuse some of my hip hop & R&B background into the Jessica 6 album since I was really hands on with Morgan & Andrew while writing and producing the record.
What happened in the interim is, billions of records have been digitized. Historians and scholars have always used genealogical records to tell the story of American history. It takes months and years of research. I can't even tell you how laborious that is. You have to be somebody who has a lot of free time, like a professor who can take tenure or someone with a great deal of leisure.
People expect us to be a straight up dance band but there are many more elements to our sound that you really get to see during our live show and hear on our record 'See The Light.'
I guess my biggest influence was actually my Grandfather. He used to play old records on vinyl, and would play old jazz and soul music like Ella Fitzgerald, Billie Holiday and The Rat Pack and swing music.
I don't think that there's a target audience at all. These stories were in circulation. The stories were told by men, told in the marketplace by men, but also behind doors by women, but there's no real record of this. It's likely they were told by women to children in their interior rooms. The story could be a negative story, they could be presented as a, "Watch out! Women will get round you, do things to you, weave you in their toils." It could be buried in it an old cautionary story about women and their wiles.
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