The Bring the Noise buzz was so strong, so we put it out on a release called 'Attack of the Killer B's' which was a record made up of B-sides and things like that - so it wasn't out on our new album, you know what I mean? But we always felt strongly about it.
Pop was initially ignored as a moneymaker by the recording industry. In the seventies they were still relying on Frank Sinatra and Tony Bennett for their big hits. You know, most of the budget for the record companies in those days went to the classical department - and those were big budget albums.
Towards the end of the seventies pop was gaining the momentum and respectability was very high with groups like Yes and Queen who were making "classical" rock records. They were also bringing in big bucks. So the eighties became the "bottom line" decade.
I kind of liked the method of the seventies where they would throw a little bit of money at a hundred different groups - not millions of dollars per group, but, you know, a few thousand. Throw them in the studio, and if five of those groups came out with a hit record it would be money well spent.
The eighties turned the whole system upside down. They would sign three groups and give them five or ten million dollars each to make three records. Out of those three records maybe one would be a hit. The economy changed, and that's why the music changed.
Every time I meet the CEO of a record label I tell them how they did it in the seventies because they want to know. I tell them, "Sign a hundred people! Throw it against the wall and see which ones stick!" And they frown and say, "Oh, we can't do that!" and they start mumbling about demographics and this and that.
Some people do rely too much on technology. Look, technology is wonderful and I love it. When I was in the UK and I had hit records I would also have a high tax bill at the end of the year, and that would be the time to buy up all the technology - it was write offs.
I think the whole obsession with old gear is completely overblown. You don't need old-fashioned gear to make a great-sounding record. You don't even need [analog] tape.
Everybody was in tears. You turned on the radio or the television, and it was nothing but Gainsbourg. With typical British music journalist disdain, I just figured it was a testament to how poor French pop was if there was this much fuss about a guy who had one hit record, 'Je T'Aime (Moi Non Plus)'.
I applied for three jobs in record companies and was offered all of them. I took the most glamorous-sounding job in the promotions department and it began my love affair with the music industry.
I wanted to show a different side of ourselves. I wanted to see in what ways I could explore something new. I felt like working on a double record would give people a lot to have.
Three years between records is longer than average. Double albums are much more of a statement. I really wanted to put myself out there as much as I possibly could.
I'm glad that, despite everything, I was able to get work done and finish something. I never finish anything. So just being able to finish record and to make music is a great gift.
Sometimes when you record an album in the end, there are things here and there you regret production wise or in composition.
Every time I make a record, it's a gem with different facets, and every time I like to explore a different side. The core is the same, it never changes, but I try to create a different shape.
I always felt that's why people buy records anyhow is because they get that vicarious excitement and thrill that they don't get unless they buy your record.
The first time I actually heard any of the Beatles' music it was in a car. I think it was the, the B side of their first record. I think it was "I Want to ... I Want to Hold Your Hand". And it, it really sounded different to me. And it sounded a bit like trouble, like this is something new 'cause I very rarely paid any attention to what anyone else was doing.
The British invasion certainly made a lot of noise in the record industry.
It's hard to sell records when you can get it for free everywhere.
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.
As crises came up later on - "Oh, we have to compromise, and the record company wants to do this," I'd be like, "No, I don't have to."
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.
In many offices it could take several days to find a paper chart and some we'll never find. Ten percent of the paper records are never found. So you have this huge delay in time.
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