Zitat des Tages über Aufnahmen / Recordings:
If I think about the way I was drawn into the music, it was much more by recordings than by live performances.
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.
I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.
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 never got anything out of the recordings. I'm still as broke as I was when I was with the Mothers.
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.
The whole time I was with 'The Temptations', I was accumulating my own solo recordings.
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.
When recordings replaced concerts as the dominant mode of hearing music, our conception of the nature of performance and of music itself was altered.
'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.
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 listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.
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.
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.
When I started out, there was so much work that I couldn't think of doing anything else. I would go for recordings by 8.30 A.M., that, too, in trains. I used to come home at night. I was travelling alone everywhere.
Women do not like CDs of live music. We only like the original recordings. If a song sounds different from the version we fell in love with, then it's awful.
I learnt from Armstrong on the early recordings that you never sang a song the same way twice.
I was really close to being this guy who used to be in this band who is still playing and trying to get some recordings together, but I got really lucky.
One of the challenges obviously with doing an accent from a time period early in history is that there aren't recordings. You would never really get the opportunity to hear exactly what you were shooting for.
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.
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.
What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.
DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.
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.
In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.
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've loved Alfred Cortot's playing from an early age, and I never tire of hearing his recordings, particularly Chopin and Schumann from the 1920s and '30s.
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 always dress up for recordings.
In the days following 9/11, when we were reeling and disoriented, there was a kind of solace to be found in old recordings, and even pseudo-folk singers like James Taylor seemed to be safeguarding something, drawing back bygone days.
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 like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
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 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.
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.
A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music.