I just write... if it's really good, it's going on the record. If it's average, it's going in the trash.
I think that when I did the Methods Of Mayhem record, some of the hip-hop stuff probably freaked a lot of Motley Crue fans out.
The only thing that's changed for me is that I've figured out a new way to do this; when I go to record, I like to do the drums last, if that makes any sense to you.
The record is definitely a musical journey. It's kind of all over the place, which I like.
Well, some people die and then they sell more records, go figure.
It was part of a financial situation. I could only afford records in thrift stores. Then you could find wonderful things, but now everything is a collectible. I like the recycling idea --using the stuff that people don't want anymore, and make new music out of it. There was an element of looking back and listening to your parents' records and doing something with that stuff. Sort of acknowledging the past while rejecting it at the same time.
I had never made a record before, so I didn't know anything about it. I don't know anything about knobs, frequencies, tones.
I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
If I stopped making records or performing, I'd probably still be famous for a while being me. But I'd rather have something to show for myself.
What drives me now is the desire to be able to keep doing this. I love making records and performing, and success means I will continue to have the privilege to do that. I know it's not going to last forever, but I'd like to keep having success as long as I can so that I can still be a part of this industry.
Music is also supposed to be fun. On this record, (titled 'III'), I really had the desire again to jump back into some good-time, fun-loving songs.
I think up until '71 or '72, Herman's Hermits had our second and third Number One records in 1969 and 1970. You know, the first one was in 1964. It was just a question of the American success being so outrageous, that that attracted the most attention.
I was in the beginning of junior high. When I was first offered the record deal, a lot of people were concerned, saying to me, "Stacie, you are so young, and you have a great talent but you don't have to do this right now." If you can do it now, you're only going to get better, you're only going to learn more, and you can do it at any point in your life.
I am very determined when it comes to my music, and I grew up just loving those singers who had that urban sort of feeling. So when it came down to making my record, I wanted to have that as well. ForeFront was really good about letting me go in that direction and then of course adding the more pop sounds. I feel very fortunate that I got to explore some unique and creative angles musically.
I want to keep making records as long as I can and that's the beginning and end of my concern about selling records.
Well, I don't let anyone record with me that is not a fan of mine or believe in my music. Everybody that records for me, from Bob Dylan on down to George Jones, everybody loves me and my music, and I knew they would do their best that they could do, and they did. I didn't doubt them a bit. There's some country people that I wouldn't want, which didn't record with me.
See, I'm not the type of writer that has 400 songs in a suitcase someplace on the shelf. I'm sort of a rise-to-the-occasion-type of writer, so when I know I'm going to record, I get in the mood to write.
I always want to sing, but I don't always want to be trying to have No. 1 records. I don't think you can do it forever. I don't know what the time span of that is going to be. I want to sing because I want to sing.
If there's one thing that differentiates me from the rest of my family it's the rock element. I hung out with friends who like punk rock a lot. Not getting a big record deal, and having a hard time for years, it means you have to prove yourself and scratch your way up from nothing.
Everybody recommended me to Sinatra and Don Costa, because everybody was enjoying my music. I got a big following going on. Nino (Tempo) told Don Costa "you gotta come see this guy." And that's how Don Costa heard about me, through Nino Tempo. Then, Don Costa brought me to the attention of Frank Sinatra and Reprise Records.
The Domino Effect could stand for anything. It could be just the simple game of the domino rocks falling off one after another, all kinds of decision we make that come back to our face. For example take an anorexic model that stops eating until she dies, or the bombs that a are thrown in a war and the effect they have on people, or even something simple as listening to a record that you like until you get bored of it and leave it in your shelf.
I didn't want to do the whole, get the hottest person thing. I wanted to make sure every record felt right.
People in the record business would say, Well, Pras, you know, you haven't been out in a while, maybe you should get today's hottest producer or rapper to do something.
I'd always wanted to make a record with Jim Dickinson, and I'd known about his boys for years, ... He reminded me that when they were 13 or 14 years old they had a punk rock band and I'd called him and wanted to make a record with them then.
The history of pop is a progression of underground styles going mainstream, so there's nothing unusual about the White Stripes or Franz Ferdinand selling records.
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