Recordings Quotes

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.

I don't listen to recordings of my songs. I don't avoid it, I just don't go out of my way to do it.

The thing is, it really did take us too long to get these recordings done. We've had our rough times in the studio in the past, but after four weeks most of the material would have been recorded. This time it seemed like it just goes on and on.

The sound has grown and sweetened over the years as well, and you can hear it on many of my recordings and, most likely, will see and hear me playing it if you come to a live show.

When you hear in the tape recordings Nixon's own voice saying, We have to stonewall, We have to lie to the Grand Jury, We have to pay burglars a million dollars, it's all too clear the horror of what went on.

I didn't make my first solo record until 1981 so I don't have any 60's or 70's recordings but I am working on a large boxed set called DUST to be released next year, the 20th anniversary of my first solo record.

When recordings replaced concerts as the dominant mode of hearing music, our conception of the nature of performance and of music itself was altered.

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.

Orphans, dead parents, lonely children at Christmas, morose spoken word recordings, everything you love about the holidays. Move the turkey over so you can fit your head in the oven.

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 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.

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.

I like to stay home and listen to recordings.

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.

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

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.

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.

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.

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

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

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.

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.

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

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.

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

'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.

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.

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.