Quotes of All Topics . Occasions . Authors
This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.
Throughout the evening I would be recording these long saxophone delays and about four hours into the concert, if I wanted to take a break I would just play back the saxophone.
Every time I hear a recording I've made, I hear all kinds of things I could improve or things I should have done. There's always so much more to be done in music. It's so vast.
Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.
Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
I was in about in the 8th grade when I started recording R&B, so much of what was on was the Motown sound, and The Beatles had pretty much come over and taken America by storm.
When I hit my 20s, I took a chill pill and relaxed because throughout my teens I was churning out an album a year. It was a treadmill of work then recording, promoting and touring.
I felt that, in retrospect, there was a time in the late Seventies, after I had a string of hits and successes, as a performer and a recording artist, that I wasn't saying anything.
Around when I turned 17 and I bought my own studio equipment and started recording myself, I kinda found my own voice. I just started rapping like my normal self and this happy guy.
With technology being the way that it is right now with Pro Tools and all that other stuff, more and more people are recording stuff at home and just utilizing Youtube and Facebook.
I've made music for grownups most of my life as a singer/songwriter - often with my band, Nine Stories - recorded many albums, and 10 years ago I started recording kid's music, too.
I started training with singing and dance lessons at the same time. Also, I was taking Japanese lessons too, when I was eleven or twelve. After school, I went to the recording studio.
I guess some of today's programming has rubbed off on me because I find myself having to set time around for touring, putting that together and then setting time around for recording.
Nowadays, it's like two different arenas, recording and touring. When I started way back in the day, doing both was nothing, you didn't have to think about it, the road and recording.
I started recording because I was always complaining about the records that I was getting of my songs. At least if I did them and messed them up, I wouldn't have anyone else to blame.
We won a contest at the teen fair in Vancouver and the first prize was a recording contract and we recorded at a radio station on the stairway, and we did a record and it got put out.
Mere recording of an event will not make it a historical document. It will become obsolete with time. Only those that emotionally connect with the audience will stand the test of time.
Dre's from Compton, I'm from Brooklyn, and we both wanted to make a better life for ourselves, right? And we both - somehow, we're both recording engineers, that's how we got our break.
I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.
The 'Aladdin' thing - that's not work; that's just fun. Three days in the recording studio going mad, then the animators do all the work. Not a bad way to cash a large check, my friend.
I should be, right now, a normal 17-year-old sitting in class in high school. Instead, I'm recording, and it's so exciting for me. I can't imagine anything I'd rather be doing right now.
I used almost every penny I ever made to build recording studios in every city I lived in. I don't have much to show for all the TV money except a lot of musical gear and a lot of songs.
On the song 'Step,' the chorus is Ezra is singing into my laptop with the laptop microphone, and you can hear the trains going by my apartment, but we liked the quality of that recording.
In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.
I know that James Brown recording where he sings about Chicago. I think he sings, like, 'Chicago, my hometown!' That's what I think of when I think of Chicago. And I think of Chicago Bulls.
I have a room dedicated to music and recording. I go there first thing in the morning and just before I go to bed. And it has a window to my street, so I can watch all the crazies walking by.
I really don't think records should be made in the manner where you sit and write, and when you're finished writing, you start recording. That just seems conventional and old-fashioned to me.
I always knew that we were going to be successful and accomplish and succeed at our dreams. There was never a doubt in my mind. When we were recording 'Appetite For Destruction', we all knew.
My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
I was working two landscaping jobs; I was recording songs in the spare bedroom. I would get up at 4 A.M., go to work, get back at 6 P.M., have nap, then start recording, just go until I fell asleep.
For a long time, I was shy about recording gospel music, because I didn't necessarily want to show the inside of my soul, Milsap revealed. But now, the spiritual side of me is really shining through.
T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.
It's hard enough to make a good song and a good recording of that song. But to try to tailor it to some outside force is just like - It's never been a factor in what I've done or what the band's done.
Texture is very important. Just the feel of everything. It's not always about recording everything in pristine quality and having everything mixed where it's absolutely perfect. It's more about a vibe.
It got to the point where I couldn't afford to borrow any more money to lose. Know what I mean? That was just before 'Frampton,' my fourth album. As we were recording it, I was very down and depressed.
I found my voice singing pop and ballads, almost all of them Colombian artists. When I was 16, my family gave me a recording session with some Colombian producers, and that's where I started my career.
When you're recording in the midst of touring, you get a different sense about you. Things are more rocking, darker, heavier and louder. You're thinking about the audience that you're seeing every night.
I'm very proud of my records, but my most natural creative tendencies have been in live performing. There's a beautiful element to recording and making records, but I've always felt a little shy with it.
Throughout the '50s, tons of unknown locals came through Sun to record their demos. Elvis Presley, Johnny Cash, and Jerry Lee Lewis all made their first recordings at the former Memphis Recording Service.
She's been a smack addict, she's had big success in Europe in the '70s, and she's lost everything. She's been rediscovered in the '80s, and as we meet her she's just about to sign a new recording contract.
The pen is an instrument of discovery rather than just a recording implement. If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out.
My favorite song as a boy was definitely 'Downtown' recorded by Petula Clark. I still love it! And the original cast recording of 'Gypsy'; I played my mother's cast recordings until there was no vinyl left.
Due to the Internet, we don't perform new songs until a release. Don't get me wrong, I love new technology, but in the case of a new song we would like the original recording and production to be heard first.
The art is what can't be put on a timeline. You can't say, 'Well, I'm going to make a record in May because that's when the producer has a window.' So just recording and getting things out is paramount for me.
I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.
Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.
I lived in Boston for four or five years and would commute to New York to play gigs. New York City became so expensive, all the recording studios started shutting down because they couldn't afford rent anymore.
So how does Liz Phair feel about Lana Del Rey? Well, as a recording artist, I've been hated, I've been ridiculed, and conversely, hailed as the second coming. All that matters in the end is that I've been heard.