Jump to navigation Jump to search
Daniel Earl Hartman (December 8, 1950-March 22, 1994) was an American musician, singer, songwriter, and record producer.
- As an artist, I don’t like being able to be seen…If you’re having difficulty getting a part, it adds to the tension when the assistant engineer, engineer, producer and producer’s wife are hanging out. With the School-house, my engineer’s in the control room, and I could be doing vocals while stretching my T-shirt over my head and it wouldn’t matter. Everyone who’s worked here has gotten used to this nonvisual communication and actually found it to be advantageous. That’s what home studios are about — that funky thing.
- On his recording studio dubbed “The Schoolhouse” in “Dan Hartman: Rockin’ in the Schoolhouse” in Rolling Stone (1979 Jun 28)
- In my mind, recognition has never been something to be obtained…I’m happy that more people appreciate what I’m doing, and are hearing my music. When I write, I communicate my own message, my own feelings and passion. I’m glad that they are being accepted.
- On becoming recognized after having been involved over a decade in the music business in “Fletch to the Beat” in Orange Coast Magazine (Aug 1985)
- It seemed to be a natural period when I wanted to stop doing pop records; it came with a falling-out between my record company and me...There was a hole in my career. Instead of a valley, it became a peak to me. I decided I was going to do something that I hadn’t really had time to do.”
- On the career fugue that led him to create the album New Green Clear Blue in “Dan Hartman Manages to Turn a Career Valley into Peak” in Mohave Daily Miner (1989 Mar 7)
- I started reading books about the subconscious mind and intuitiveness, and what makes people tick when they hear songs that excite them, make them feel romantic or melancholy. I was in and out of bookstores and libraries. I read a lot of texts, including on primitive man and the workings of the way we emotionally react to things. It wasn’t scholarly or scientific. I read and skimmed and when I thought something was nonsense, I just moved on…
- On the researching process for his album New Green Clear Blue in “Dan Hartman Manages to Turn a Career Valley into Peak” in Mohave Daily Miner (1989 Mar 7)
- In a lot of ways this music is soothing. I think there’s a place for music that is peaceful and soulful unto the spirit. After plane bombings, AIDS and everything that has come upon us in this decade, I think we can use a little solace and reflection.
- On what he aimed to communicate with his album New Green Clear Blue in “Dan Hartman Manages to Turn a Career Valley into Peak” in Mohave Daily Miner (1989 Mar 7)
- I don’t necessarily do music for the pure art sake of my own self-expression, which is why a lot of people make music—to express themselves. I really feel that the work I do, be it writing, singing or producing, I do in order to help communicate feelings to other people, hoping they might feel the same things, that they somehow relate to it or get an experience from it that they can share with themselves.
- On the the concept of self-expression in “License to Chill” in SPIN Magazine (Nov 1989)
- The reality of Andy Warhol’s 15 minutes is here, only if he were around now, he’d say “Now it’s five.” We’re going so fast, we don’t know what’s going on inside anymore. We’re becoming external, not feeling anything.
- On the advent of technology in the late 1980s in “License to Chill” in SPIN Magazine (Nov 1989)
- I have a bit of anger about some things going on in the world that I know I want to sing about. I’ve never done that on a solo album before; they’ve been mostly about romance and relationships…The concept is Dan Hartman, so whatever’s happening to me when I begin to put out the feelings will be what the album is about. Whether I’m in love, out of love, or the next plane blows up…whatever, I just want to stay creative and hopefully keep people thinking and feeling…At least feel something.
- On the solo album that he was working on at the time of the interview in “License to Chill” in SPIN Magazine (Nov 1989)
- I think James Brown has made a lot of good records (in recent years)…But it was that purist James Brown thing that he was doing in the beginning and people won’t let him do that anymore because time marches on…That stuff is classic to me, but other people get bored with it. The challenge is to present something that is him, yet sounds fresh to listeners. That’s usually hard for (a veteran artist) to do. It helps to have someone step in from outside…I am proud of what we did on the album. I think it does present a contemporary James Brown. It’s not candy-coated. It has a lot of statement and a lot of heart.
- On his work on James Brown’s Gravity album in “HARTMAN: JAMES BROWN’S GODSON OF SOUL” in the Los Angeles Times (1986 Oct 19)
- When you get into the areas of eroticism, politics, and belligerency, you have to be careful. Some of it will get out. Both Charlie and I have slanted minds. If “Relax” or “Sugar Walls" can be hits, there is a place for that kind of stuff, too. It's fun and interesting to write about that. Or with politics: Third World people own the bomb. That's probably where the nuclear war will start. They have nothing to lose. You can write about that. It'll be just another record from a romantic cynic.
- On what he considered "weird" when discussing the concept of his next album (which would go unreleased) in "Dan Hartman: Instant Replay of Success" in Modern Recording & Music (June 1985)