Recording Quotes

My history is really playing live - not writing or recording.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

I have always thought of myself as a performer first and way down the line as a recording artist.

I see no reason for recording the obvious.

My feet never touched the ground. Lots of good groups with crazy and unique images. It was wild. I spent all of my time doing gigs, TV appearances, interviews, or recording. I could write a book - and probably will.

I just get focused on whatever is in front of me. When I was filming Crossroads, it had all my focus. Now I'm all focused on finishing my recording so I can get that out. It's just day by day.

Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.

I am taking a break, but not a huge break because the Maiden record is actually happening right now, and I am recording it as we speak, well not right as we speak, but close.

The Hadley Street Dream is a tribute to making a vision come to life. My father built a compound on a dessert city block, he saw something in that space we couldn't see. It was years later the album was born right there on Hadley St. He built the studio I started recording the album at.

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.

Well, especially now I come to realize - and then - I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I'd record for hours and hours until it's time to go to sleep.

In fact, I'd just like to own something. Everyone thinks I'm glamorous, rich and famous but all I've got is some recording equipment and a battered old BMW.

I haven't really been recording in the last several years. I haven't wanted to. And even though I had to deal with Sony and now I'm on Universal again, I will probably put out a new record soon.

My friend has a baby. I'm recording all the noises he makes so later I can ask him what he meant.

I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.

I read numerous books - loads in fact - and, as I always do when recording a historical project, immersed myself into the subject matter. I spent many hours at Henry's old homes, such as Hampton Court, and visiting the Tower of London. I read no other books during that period.

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.

A development deal is where they're giving you recording time and money to record, but not promising that they'll put an album out.

I don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.

When it comes to the recording and writing, it's still mostly Mickey and I. But now there's this whole live entity that's a whole different thing, and it seems to be where we're gaining the most popularity.

I asked the producers when I was doing 'Y Tu Mama Tambien' if they could give me a VHS recording of the film that I could show to my family, because in Mexico and Latin America, when you do a film, you don't expect anybody to see it, especially not in the cinema.

In the account book of the Great War the page recording the Russian losses has been ripped out. The figures are unknown. Five millions, or eight? We ourselves know not.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

I recorded with Sinatra, but the recording business is a very strange strata right now.

Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.

After that initial success, every chance we got we'd hire that remote recording truck and just record stuff at the Whisky because it was so inexpensive.

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.

No one likes to work for free. To copy an artist's work and download it free is stealing. It's hard work writing and recording music, and it's morally wrong to steal it.

I know great songwriters. Fred Neil would come up when he was in L.A., we all used to hang out. He would sit there and sing, and we would just melt. I mean, we would go to his recording sessions.