My family is the engine of everything, and on a personal level, I feel peace, stability, and they give me force, which is reflected on my work, my recordings, and every time that I go out on tour. They are my base, my everything.
We never got anything out of the recordings. I’m still as broke as I was when I was with the Mothers.
I rarely get the time to watch cricket as I am busy with recordings.
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.
I still don’t have a car. I still travel by public transport. I take autos to travel to and fro for recordings.
I would have loved to record with Paul McCartney on some of his early solo recordings, wonderful music. Playing some lovely organ, perhaps. I would have loved to record with John Lennon. He was a dear friend. I had lunch with him just two days before he died.
There are a bunch of songs that I think are beautiful recordings, and I’m proud of them, but I’ve no interest in listening to them.
Deepfakes – seemingly authentic video or audio recordings that can spread like wildfire online – are likely to send American politics into a tailspin, and Washington isn’t paying nearly enough attention to the very real danger that’s right around the corner.
I’m a huge fan of voice memos. I put down many ideas there and sometimes I even use some of those audio files in my actual recordings. You get this really raw energy from voice memos that you can’t get when you sit down in a studio with a microphone. There’s this sense of immediacy, which I’m really drawn to.
Singles needed to come back. And what I tried to do in my online experiment was to change the rules for myself and make available at a more regular pace the fruits of my labour, for people who decided they wanted to support my recordings.
‘Your Dog’ I tried to re-record at my house, like, four times after the studio recordings were done.
The Vikings certainly didn’t write anything about themselves; it was not a literate, but rather a pagan, culture. So what we get was written later by Christian monks. But there were occasional reportings and recordings of people who had traded usually with the Vikings.
I’ve certainly developed as a vocalist. I find my early recordings very difficult to listen to.
Sometimes in the past when I was going to perform a piece again I would listen to old recordings and try to reproduce the material. This time I realized that carrying around old information, trying to get everything in, and still be in the moment just doesn’t work.
I don’t believe that recordings should sound radically better than the artist, I think that’s dishonest. For example, I’m not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don’t, what you hear is pretty much what I sing.
Sometimes in the past when I was going to perform a piece again I would listen to old recordings and try to reproduce the material. This time I realized that carrying around old information, trying to get everything in, and still be in the moment just doesn’t work.
One of the challenges obviously with doing an accent from a time period early in history is that there aren’t recordings. You would never really get the opportunity to hear exactly what you were shooting for.
Growing up, any time I would sit down with my grandfather to learn or talk about Carnatic music, he would bring up G. N. Balasubramaniam. Listening to the recordings he would play me, I was dazzled by GNB’s voice and how he was able to execute ideas that I could barely wrap my head around.
I really write at home on my own, and the demos themselves are very similar to the final recordings in a lots of ways.
The income streams of musicians have all been upstreamed into the pockets of computer corporations. Sound recordings are little more than free crackerjacks inside every computer or cellphone that you buy.
Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats.
Movie stars and singers never fully pass away because their images are replayed on film and recordings, over and over.
I still don’t have a car. I still travel by public transport. I take autos to travel to and fro for recordings.
We’re gonna release a studio album probably a year from now and we’ve got these recordings that we did with Coco Taylor and Johnny Johnson, who was Chuck Berry’s piano player.
I did extensive, extensive recordings and made a classical CD-ROM set, which is still on the market. For ten years, it was by itself as the cream of the crop of samples.
Since I first fell in love with choral music when I was 18 and began composing at 21, I’ve been listening to these recordings of British choirs. I just fell in love with that sound – that pure, clean, pristine sound – and I think it’s probably been the biggest influence on my sound.
I’ve loved Alfred Cortot’s playing from an early age, and I never tire of hearing his recordings, particularly Chopin and Schumann from the 1920s and ’30s.
I just remembered songs my grandmother taught me, and songs that I learned for the recordings. But, then I learned to speak Italian. When I was there, I hired a professor who stayed with me 24 hours a day. She wouldn’t let me speak a word of English.
Never have so many recordings of the great Masses and motets been in wider circulation.
Deepfakes – seemingly authentic video or audio recordings that can spread like wildfire online – are likely to send American politics into a tailspin, and Washington isn’t paying nearly enough attention to the very real danger that’s right around the corner.
Movie stars and singers never fully pass away because their images are replayed on film and recordings, over and over.
I try and manufacture recordings to sound spontaneous. Then, some things are spontaneous.
What we are as a live band is different to what we are on recordings, but they’re both equal versions: they’re both LCD Soundsystem, but in very different ways.
I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there’s really a push to the world to try to figure out what it was that he was hearing.
I listened to birds and crickets, looking for the ways that rhythm appears most naturally in the world. I listened to the Smithsonian’s field recordings of pygmy choirs from Africa.
DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.
I realized I liked being in the studio and working on translating the ideas into recordings.
I love hearing old Bob Marley recordings that he did before he made the versions everybody knows.
I record a lot of stuff on my phone when I’m out and about and regularly use the recordings in my tracks.
The whole time I was with ‘The Temptations’, I was accumulating my own solo recordings.
Occasionally, if I’m in doubt over specific Indian classical or raga-related questions, I’ll find myself going back to my lesson tapes or my father’s recordings.
I’ve come to realize that you live on through recordings; they’re like a musical diary, a window into somebody’s soul.
One of the things that’s influenced me musically was my experience at Brown University. I was surrounded by musicians that I really admired, and felt challenged to come up with music, lyrics, and recordings that stood up to the expectations of those musicians and myself.
When I started out, there was so much work that I couldn’t think of doing anything else. I would go for recordings by 8.30 A.M., that, too, in trains. I used to come home at night. I was travelling alone everywhere.
There are parts on ‘Wind’s Poem’ that are literal recordings of wind. I had this old sound effects record that I got some wind from and then I figured out that distorted cymbals sound just like wind so I used that a lot.
My songs used to be significantly more bizarre. I used to play a big electric piano and a loop pedal. I was really into Regina Spektor, and I liked her narrative lyrics that were quite off the wall. I used to layer things up and try and replicate what I’d been doing with my bedroom recordings.
I don’t come from a film background. I haven’t learned anything about films or film-making. But I have a thirst to know everything about my profession. I want to learn about cinematography, about editing, about music recordings, about post-production. So when people in the know talk, I willingly listen.
So, in the course of events, I had an opportunity to come in contact with Colin Matthews, through the Rex Foundation sponsoring recordings of various music that was being recorded over there.
I like home recordings and studio recordings just as much as each other – I don’t think one is better – but for this record I wanted to see what I could do in a real studio with real producers.
I just remembered songs my grandmother taught me, and songs that I learned for the recordings. But, then I learned to speak Italian. When I was there, I hired a professor who stayed with me 24 hours a day. She wouldn’t let me speak a word of English.
My Dad died during the flu epidemic in 1918 when I was 4 years old. He left a lot of classical recordings behind that I began listening to at an early age, so he must have been a music lover.
