Quotes of All Topics . Occasions . Authors
We were so busy that right before we recorded the follow-up single to 'Lovin' Feelin' I had a nervous breakdown. I just folded. I had to stay in bed for a couple of months and rest.
I have a stunt double; his name is Glen Levy, and he has the hardest punch in the world. Seriously, it's actually been recorded by 'National Geographic.' He calls it the Hammer Fist.
The first song I ever recorded is called 'ODA' it was a thrilling experience. I was scared and anxious when I stepped into the booth. The more comfortable I got the more I enjoyed it.
Following the principle that you should know your enemy, the BBC has assiduously recorded the relentless rise of Rupert Murdoch and his assault on the old 'decadent' elites of Britain.
When I recorded my solo album, 'Keep It Hid,' in 2008, I'd gotten more interested in songwriting, inspired by reading Charles Bukowski and connecting with unfancy, interesting language.
I went to see one of those pianos drowned in tsunami water near Fukushima and recorded it. Of course, it was totally out of tune, but I thought it was beautiful. I thought, 'Nature tuned it.'
I hope that teachings about inclusion and love win out over what I personally consider to be a handful of scriptures that reflect the moral expectations of the era in which they were recorded.
I could have recorded music and hoarded it all because it's not good enough for me. Also, with dropping music, fans get what they want, and you get to learn from them and whatever you put out.
After you've practiced for an hour or so, turn down the lights and record yourself playing. Improvise and go nuts, then playback what you've recorded and listen for your strengths and weaknesses.
In 2004, I went onstage for the first time. They put a mike in my hand and pushed me out the door into the crowd. I did the three songs I had recorded and got out. It was the worst day of my life.
Right after we recorded 'Satanic Satanist' and 'American Ghetto' here in Boston, we decided we'd grow our hair out. This is - was - like the Beatles thing. I wanted to see these pictures later in life.
My brother had written 'Ocean Eyes,' and we recorded it, basing all of the production around contemporary and lyrical dance. I think of most songs that way - if you can't dance to a song, it's not a song.
I don't want to live in a society that does these sort of things... I do not want to live in a world where everything I do and say is recorded. That is not something I am willing to support or live under.
I'm the guy that gets up at three in the morning to jot down an entire sheet of lyrics for something that won't be recorded for six months. You have to get it down when you can, because thoughts are fluid.
Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence.
'Resident Evil: Damnation' was physically mo-capped and recorded with the mo-cap actors first, so there wasn't a whole lot of flexibility with timing, so it was more stringent. We had to go in individually.
'SMiLE' is perhaps the Beach Boys' most legendary album. It was recorded in 1966 and 1967 but only saw a formal release in 2011. That's a long time to wait for what was said to be Brian Wilson's masterpiece.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
Right after high school... the first time I ever recorded music was with a rapper, a friend of mine, and I would just be like, 'I'll sing your choruses.' So I would sing his hooks and he would go in there and rap.
People say I play real loud. I don't, actually. I'm recorded loud and a lot of that is because we have good engineers. Mick knows what a good drum sound is as well, so that's part of the illusion really. I can't play loud.
The very first Walnut Whales recording was recorded just a few weeks after I had started singing, out of the blue, started singing. And the voice, you can hear how uncomfortable I am with it, and how terrified I am with it.
In the past, when I'd recorded during a break in a tour, it was so easy to sing, because I felt strong. Also, like so many new mothers, I wasn't getting a lot of sleep, and sleeping is such a huge part of being able to sing.
A strange thing is memory, and hope; one looks backward, and the other forward; one is of today, the other of tomorrow. Memory is history recorded in our brain, memory is a painter, it paints pictures of the past and of the day.
I got to meet Kanye West because we were shopping my artist deal, and I was interested in his label. When I met him, I played him all the records I had. He introduced me to Rihanna, and she recorded and cut some of those records.
When I was a kid, I went through a lot of musical phases, and one was when I'd learn everything that The Beatles ever recorded. After I started drums, I fell in love with their music so much that I just wanted to learn everything.
As a very small child I found recorded noise and the solitary singer beneath the spotlight so dramatic and so brave... walking the plank... willingly... It was sink or swim. The very notion of standing there, alone, I found beautiful.
If you can use a search engine, you can find any piece of music that's been recorded for free. I'm not saying that's right, but it's a fact, and I'm surprised that more people don't accept or acknowledge that and try to adapt in some way.
So it is in poetry. All we ask is that the mood recorded shall impress us as having been of the kind that exhausts the imaginative capacity; if it fails to do this the failure will announce itself either in prose or in insignificant verse.
'She's Dynamite' was a 100 years ago, and I recorded that song because the company thought that it was a great song and it was hot. That was the beginning of rock n' roll, and I guess they thought it would be a BB King version of rock n' roll.
The thing is, it really did take us too long to get these recordings done. We've had our rough times in the studio in the past, but after four weeks most of the material would have been recorded. This time it seemed like it just goes on and on.
There are a lot of great recording artists, like Jack White and Jack Johnson, who stay confined inside a very small box, but I'm more like Bon Iver, who recorded an album with programmed drums, and the next record was totally organic. I get that.
People are afraid to be themselves because people are afraid to be recorded. Everything is being recorded, and everyone is so sensitive. You say something; a section of people will be offended. It's so annoying; you got to be completely censored.
I recorded my first song at 15. But I started rhyming a few years before that. At first it was trading lyrics at school. We'd get in a circle in the playground with a beat-boxer and spit rhymes. Then it would turn into a big gathering after school.
On our early demos, I was really frustrated with my recorded sound. I'd tell my dad, 'Dude, I want more 'cut' on my guitar - I want more treble.' And he'd say, 'Now, son, you don't want that. It'll hurt your ears.' But my dad just didn't understand.
I came up with, 'I am a lost boy from Neverland, usually hanging out with Peter Pan' and recorded that simple line on my phone. I watched it back and thought it was kinda cheesy, and I was actually going to delete it. But I thought 'Whatever, it's catchy.'
I joined Alcatrazz a month after I recorded 'Steeler.' The big difference between Steeler and Alcatrazz is that in Alcatrazz, I wrote the songs. When I went to the Alcatrazz audition, they had no songs and no direction. They also had a questionable drummer.
When I made 'Real,' I recorded it over the phone in prison. I did it in a week. I had no idea what it was going to sound like. I couldn't even listen to the masters before it came out, I couldn't listen to 90% of the beats. I recorded 21 songs in seven days.
Of course, 'I Will Always Love You' is the biggest song so far in my career. I'm famous for several, but that one has been recorded by more people and made me more money, I think, than all of them. But that song did come from a true and deep place in my heart.
'Dog Days' was recorded with pens and the wall, and half a stolen drum kit that was out of tune, in what was basically a cupboard. The only instrument I could really play was my voice, so we just layered everything a hundred times. It was enthusiasm over skill.
It seems to me like the Internet allows you to break that structure a little bit. You know, here's your CD that's going into stores, here's your EP that you offer online, here's a subscription for songs you recorded on the road, here's your live stuff streaming.
There aren't a lot of entertainment-based mediums, the visual or recorded mediums, that empower the audience to go off the next day and create it themselves. You can't watch a movie or a show and the next day say, 'I want to make that.' You have to go to school.
There are so little outtakes from the Joy Division era. We didn't have much money. You couldn't be very generous in recording, so we were very thrifty in how we recorded. Everything was very, very well looked after financially because we just couldn't afford it.
I read papers, try to watch news programs on television, but, as a rule, recorded. During the day I have no time for that, so I watch something taped. As for the newspapers, I try to get through them every day. Additionally, of course, I look through news bulletins.
'Memoryhouse' came out, and there wasn't a single review and zero sales, and after about a year, it was deleted. So I recorded The 'Blue Notebooks' on a little indie label, and my attitude was, 'Well, if nobody is listening, I might as well keep doing what I'm doing'.
I like 'Goodbye My Lover' because it's a really personal song and I recorded it in my landlady's bathroom in Los Angeles. She had a piano in there and for me listening back to it, it actually sounds like the voice I hear in my head. It's so close to what I can imagine.
On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.
There's something about music that encourages people to want to know more about the person that made it, and where it was recorded, what year it was done, what they were listening to, and all this kind of stuff. There's something that invites all this obsessive behavior.
How can we be free when we are prisoners to social media, in a world without privacy? How can we be free when our every movement is tracked and every conversation is recorded and can easily be held against us? How exactly are we free if we are tethered to our cell phones?
Umm... my favourite Wizkid tune of all time would be 'Don't Dull' 'cos I recorded the track in, like, 5 minutes. The beat was ready, we went into the studio and freestyled, and it was ready. The song became really, really big, so I think 'Don't Dull' is still my favourite.
As soon as you pick up a guitar, you're up against the legends of rock. The same goes with stadium drum kits and electric bass. Essentially, you're already in a soundscape that's very familiar and has a lot of established legendary material recorded using those instruments.