I've made solo records and that's all been a learning experience. I've just got better at singing and more comfortable with who I am and my voice.
I think people were genuinely addicted to hip hop in the 90s, addicted to the idea of empowerment. I think it came from [the fact that] the rappers in the 90s, their parents coming from the 70s, had such a rich variety of records to sample.
The main thing is that people see constant reports of break-ins on, on record systems and stolen financial data and social security records and so they'd think about you know what's going to prevent that happening with my medical records. And interestingly enough, patients are less worried about that than their doctors are.
When you have a paper based system, you are relying on your memory to a large extent about the patient. Now the paper records can have various kinds of ticklers.
It's a different thing when you go into a studio and you record with the intent of going somewhere and you're marketing yourself for that direction.
I would imagine after the first recording session with Jerry Leiber and Mike Stoller and Atlantic Records I began to realize that this is going to be like this for the rest of my life and I knew that what, what they were doing was going to be successful because with each session that we would do, it would get better and better and better, the songs would become better, the, ah, the feeling of success was there and we were all in the middle of that as well.
20-some years ago, I'd have a big old radio with a tape deck, and I'd hit record and try to get something down on the tape, but nowadays, I can use my handy little smart-phone; I sing into the app for voice memo.
When I started out, it was this sense of, "Let's put out a record and see what happens and see where you go and see how you feel and where we can take it." That was a very different world back then.
I need a little criticism while I make a record so that I kind of feel like: okay, I know that I'm doing the best that I can do because someone is actually here challenging it.
I was living in Gainesville, Florida, and our babysitter brought over the soundtrack to The Who's "Tommy" - not the actual record "Tommy", but the soundtrack to the movie with Elton John and Aretha Franklin. I remember hearing it for the first time and it was so confusing. It was like waves and waves of unknowable and indescribable sound coming out of the stereo.
I've always been in bands writing songs with friends in order to play shows or record a future record.
I want to win some awards, sell more records - just do whatever I want.
I get annoyed with movies or books, songs or records that deliberately try to make you feel a certain way.
I'm very curious about David Bowie's new record [2016]. I'm very, very... I'm just incredibly curious, I want to see what's happening with that. I don't really know who else is putting out records, we've had our heads buried working on ours. I haven't really been paying much attention lately.
I was listening to this record by Paul Desmond called First Place Again. It's incredibly gorgeous. There is nothing better that you would want to get from music than you get from that record.
There is a lot of incredible talent out there, however, talent alone is not enough. Being a great singer does not matter, if you are not singing great songs. Having great songs will not be obvious to record executives if they are not professionally produced. Consistently performing those songs extremely well is essential.
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.
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.
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.
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.
When I record music I like to be in one place and kind of have a base to keep going back to.
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