Recordings Quotes

Right now, I'm thinking in terms of just having a good band, man. Having a good act for the stage. Being a good performer, you know? Connected to that is future recordings, and future tunes, that kind of stuff.

It was step by step that I earned my way into the lives and hearts of people by giving them recordings that I grew to love and as I found my listening audience also grew to love.

We never got anything out of the recordings. I'm still as broke as I was when I was with the Mothers.

When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.

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.

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.

The government paid the family of Richard Nixon $18 million for papers, tape recordings and other materials seized after Watergate.

I like to stay home and listen to recordings.

But I listen to live recordings of things that I did back in the '70s and then how I've done things since. And there's no doubt about it: if I compare the two, it's like chalk and cheese.

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.

Nimbus is doing a great service with these excellently produced transformations of piano roll recordings.

I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.

Most of my recorded material has been in small group configurations. I have not released large orchestral works as recordings because it hasn't been within the realm of possibility.

If I think about the way I was drawn into the music, it was much more by recordings than by live performances.

I learnt from Armstrong on the early recordings that you never sang a song the same way twice.

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.

Well, in the sense that we do not tour or record together anymore - then I suppose not. But if our old recordings get heard more we shall be delighted.

I got more used to my own voice, but still it's hard for me to listen to my own voice, or hear the recordings.

At the Isle of Wight, the sound went out and kind of kept on going. And I wasn't... when I came off stage I was kind of unhappy about how we had played. But now, I listen back to those recordings and it's not bad.

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.

Never have so many recordings of the great Masses and motets been in wider circulation.

DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.

'Cause I can make more money going in and doing my recordings and selling them through my entities that I have, rather than going to a record co. and them release a record and pay me 5 percent of what they make off it.

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.

Quite honestly, if I were doing work related to a living being or historical being where there was visual or audio recordings available, I would find that extremely difficult because I don't know how you would avoid the process of mimicry. And mimicry, to me at any rate, is a very dull prospect.

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.

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.

I listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

I was a beginner again. I practiced hard and used to listen very closely to recordings of American jazz drummers such as Tony Williams and Kenny Clarke.