Recordings Quotes

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.

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

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 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.

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.

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.

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

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.

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.

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.

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.

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

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.

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.

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 like to stay home and listen to recordings.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

'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.