John Lennon Quotes

We had a nightmare on our first album, and went through two producers. I decided, on the second album, to take the money that we were supposed to use for pre-production, and we went into a studio and cut the album with no producer. We finished the whole thing without telling the record company.

My grandfather was Bob Shad, one of those legendary jazz and blues producers - he worked with Charlie Parker and Dinah Washington, and he produced Janis Joplin's album [1967's Big Brother & the Holding Company]. He always owned small labels as well - he had a label called Mainstream Records in the 70s.

Most artists should be able to make the album that they want. You don't necessarily pick the singles that you want when you're making a record, but for the most part it's the same process.

If I cut an album now and sell it for ten bucks, I can put seven dollars and fifty cents in my pocket.

My original idea was to produce and not make records myself.

If I were to do this over I'd play a lot more shows before I made a record.

When I do an album I try to find a producer that's excited about something that they want me to sing, and I check with the record company to find out what they think they can sell - which is their No. 1 priority.

You don't necessarily pick the singles that you want when you're making a record, but for the most part it's the same process. You're the artist - you make the music that you want to make.

Finally, my manager negotiated a deal where I got to produce my own records.

I knew that it was my only shot to be taken seriously in the recording industry, because it's fast and broad.

The album is never finished until it's on the shelves!

I am a singer first and foremost. I was lucky enough to have a manager, when I was 15, who knew the heads of a lot of record labels at the time.

I wanted to produce Nancy LaMott's albums, so I created my own record company.

My profession is called record production.

I'm trying to get hold of them... the trouble is a lot of the companies that recorded and produced the albums went bust, so I don't know where to get the masters.

We had been working. We had a bunch of songs written and it came time to make the record, so we had our lawyer make the call to Elektra and ask for our advance. Then, we got dropped. It was actually exciting.

GusGus records are flawless.

We were definitely new to the whole music thing. The first album was a real collaborative effort between us, the writers, and the A&R people at Columbia Records. We really worked to find out what our sound was.

I want to do, like, 50 records.

A lot of people who work with Dre, you're lucky if anything sees the light of day.

I've always wanted to produce a whole album for an artist.

I don't make as many records as other people do because I prefer the live side of it - and my records are so big that they keep me touring for years upon years and years.

In the mid-1970s, I even decided to make my own country album. I put the idea to my record company, thinking we'd just go into the studio in the U.K. and make a novelty album. But instead, they suggested I go to Nashville. I was flabbergasted. I hadn't expected that at all.

We make sure we have total artistic control with our albums. We were working with Interscope Records, and they had a hard time with us having all the control. So when we signed with Warner Bros., we told them we would be working hands-on with our producer, and they were cool with it.

I just have to sell enough records to continue financing making more records.