Sure, some tracks are not as good as others, but we’ve written some really strong, classic stuff, like ‘The Number of the Beast,’ ‘Hallowed Be Thy Name,’ and ‘Rime of the Ancient Mariner.’
The role of a DJ is being able to keep people on the floor for X amount of hours so you can’t just push buttons to do that, you have to have good tracks and a knowledge of where to take people.
The banked oval tracks are obsolete tracks for Indy cars.
Dance numbers continue to be popular and I believe soulful and romantic tracks, too, will never go out of trend.
I am regarded as a usurper, as an imposter and dilettante, because I do technically come from the wrong side of the tracks in musical terms.
When I was recording from ’70 to ’82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.
Everyone knows how physically demanding ‘Newsies’ is in terms of the dance, but even the guys in the toughest tracks remark that the singing in this show is often the hardest part. The newsboys are teenagers, and Alan Menken wrote this music in the top of a guy’s range.
Until you love yourself, until you really believe that, you’re stopped in your tracks. That’s why it’s so important to wear what you want to wear and be who you want to be.
I was born on the other side of the tracks, in public housing in Brooklyn, New York. My dad never made more than $20,000 a year, and I grew up in a family that lost health insurance. So I was scarred at a young age with understanding what it was like to watch my parents lose access to the American dream.
A turntable is the classic DJ’s weapon for playing vinyl, but the mixer is the device that actually allows you to blend multiple tracks together to create a mix.
I found Beam when he was 16 years old. He dropped his SoundCloud page onto my Facebook. ‘I listened to it and was like, these tracks are actually dope.’
Lensko is a friend of mine with a great talent! The way he progresses his tracks is so unique, just the way he puts everything together is so different from what I usually hear nowadays in the EDM-world.
Besides the two Christmas things, we’ve got a about a dozen new tracks we’re working on.
There is room and time for multiple tracks to flesh out in the web space. I enjoy this format.
If I had a nickel for every time someone asked, ‘When are you doing an album?’ My career is way too transparent to do say, ‘Guess what – I’ve got 16 tracks you’ve never heard!’
I definitely don’t subscribe to the theory that more instruments, or more vocal tracks, harmony, or double tracking the voice, is a good thing. People do their early albums very stripped down, then each album becomes bloated.
Moreover, if a song is a hit, film makers come to us with requests to score similar tracks. In the process, commercial songs sometimes sound repetitive.
A big hook can be great; you’ll have a big opening. But if you haven’t got the right foundation, you’re never going to keep that train on the tracks.
Even the diss tracks was enhancing ‘Panda.’
At 16 I was very interested in palmistry. The fate line on my right palm broke into two parts that ran for a quarter of an inch on parallel tracks. I used to look at it and wonder, ‘What will happen?’
I’m a huge fan of The Chemical Brothers and the Ninja Tune label and a lot of the stuff that they put out like DJ Shadow but I think, out of all of them, Leftism really just excited my musical brain in terms of the way that they mixed real instruments with dance tracks.
Anyone who’s been reading my stuff can see that there’s a lot of tracks being laid for future stories.
I’ve programmed myself musically to come up with love-feeling tracks that are romantic, sexy, but classy, all in one. And that’s the challenge. Once I create that music, then the lyrical content starts to come – you know, the stories and things like that.
In Spanish, I record a lot of single-voice tracks, and in English, I ‘stack’ a lot of voices, so it’s very different, and I think I got so used to recording in Spanish for six years that it was really refreshing and challenging to get in and record ‘Double Vision’ in English.
With the TV stuff, we usually hand in final, finished tracks. The turnaround time is so tight that there’s no time to demo anything; you just do it.
In 1962, I wrote a series about 42nd Street called ‘Welcome to Lostville.’ One result was that the young Bob Dylan read it and invited me to his first concert at Town Hall; the result was a kind of friendship that years later led to my liner notes for ‘Blood on the Tracks.’
In China, because Chinese is a tonal language, it can be kind of hard to follow people’s emotional tracks. There was one moment where a woman I was interviewing just sort of burst into tears, and I can usually sort of tell when things are coming on, and in that moment, it was very unexpected.
Claire Danes in ‘Homeland’ just blew me away. She is so intuitive, and her choices are so unique. When you see somebody like that work, you just have to stop in your tracks. It is a lesson in what good acting really is, and it is so inspiring to be around.
Not many people know this, but when Yes first started doing club dates back in 1968, ’69, we did a few tracks from ‘The Magic Garden’ album in our set. We just loved the harmonies that the 5th Dimension had as well.
Blending tracks and weaving and manipulating prerecorded music to create this mood, some people do it much better than others.
At some point you have to take responsibility for who you are and where you are and being able to listen to other points of view, whichever side of the tracks you’re on.
Orchestra had a little brass ensemble on two tracks as well, but the rest was me. I knew I couldn’t continue in this direction, even if people liked it, because I can only duplicate myself.
Tracked a raccoon one time in the snow. I was in the neighborhood and I was just curious where this raccoon lived. There’s some fresh raccoon tracks. He’d been digging at somebody’s garbage.
It’s my opinion tracks got too wide. You put 43 cars on the track, and if the turns are too wide like they are at some tracks, you sort of lose perspective of what’s going on.
The last Simply Red album, ‘Stay,’ was good, but the first three tracks were designed for radio play. They were written to meet people’s expectations of Simply Red.
Having myself bowled in the early stages of the innings, with field restrictions in place and two men perforce required in catching positions, I know what it takes to bowl on unresponsive tracks against quality batsmen.
A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn’t hear it that way. I’m not a songwriter.
If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I’m good at making fat-sounding dance tracks.
I’ve made so many changes to my records because of the way the audience has reacted at the various festivals I’ve played – I’ve taken tracks back into the studio, stripped them bare, and built them back up again to create something entirely different.
I have an aversion to laugh tracks – the moment I hear a laugh track, I go to another channel.
When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn’t there.
Even after years of observing, a new picture of Uranus from Keck Observatory can stop me in my tracks and make me say, ‘Wow!’
With the Truman book, I wrote the entire account of his experiences in World War I before going over to Europe to follow his tracks in the war. When I got there, there was a certain satisfaction in finding I had it right – it does look like that.
When people pay taxes, they are buying a service and benefit for their community. Colorado Tax Tracks shows taxpayers what they pay and what they buy for their money.
A lot of the really great stuff fell between the tracks.
I feel like in the races I watched before I got to NASCAR, nobody ran like right next to the wall. And I feel like since I’ve gotten here, a lot more people do now. I don’t know if it’s the way the cars drive or the tracks age or what, but I feel like I’ve had a part in changing the style of NASCAR racing a little bit.
I got my first laptop, what I learned to do everything on, when I was 17 or 18, and I had no idea what I was doing. I’d only ever produced on an 8-track before. When I was about 13 and writing songs, I would write on that. It would literally be eight tracks, and that’s all I had.
Sometimes I just hit the keyboard in a way I’d like the rhythm of the tracks to sound.
As a businessman, I saw club tracks as a new franchise that could be profitable for years to come. It was like being in McDonald’s and realizing that even though cheeseburgers and fries sold big, you could also make money serving up McRibs, which are always available for a limited time only.
I think having a national system that tracks who owns guns is fine. I don’t think we need to be printing it on the Internet.
Nowadays, who actually listens to the tracks on an album, anyway?
I did the first ‘Oxygene’ on an 8 tracks tape recorder with very few instruments, with no other choice than being minimalist.
