Does the Grammys intentionally use artists for their celebrity, popularity, and cultural appeal when they already know the winners and then program a show against this expectation? Meanwhile, the National Academy of Recording Arts and Sciences hides behind the 'peer' voting system to escape culpability for not even rethinking its approach.
About two months into the Whisky, I borrowed some money and rented a remote recording truck.
I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
At the time, the only options were playing the local county fair. Now with American Idol and younger recording artists that have come out, there is more of an opportunity.
The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!
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.
From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.
Once I'd chosen the songs, it seemed like it would just be a question then of recording them. But it's a case of trying to re-invent the songs; taking them in different directions.
I'm hoping to become a recording artist and make albums and go on tour.
The media and the rest of popular culture weren't recording people's reactions to 9/11; they were forcing made-up reactions down people's throats.
My recording career has luckily run the gamut of recording environments.
My history is really playing live - not writing or recording.
I think the intelligent thing about it is that you have to carefully listen to it all to grasp it, and because I'm not in every scene - colossal disappointment to everybody that it may be - I'm not getting the full picture here today while recording it.
It's hard enough to make a good song and a good recording of that song. But to try to tailor it to some outside force is just like - It's never been a factor in what I've done or what the band's done.
The beauty of recording in L.A. is that most of the musicians that are on the record live here, so it was easy to get world class artists like Rick Braun to swing by and play a little trumpet, Everette Harp on sax, guitarist Paul Jackson.
I love Donna Summer, and I love ABBA. I love late '70s disco. I love the Bee Gees. I just love that period of recording.
I just work a lot. I just remember recording in a hotel room in Malaysia. I work on planes, I work on buses. A lot of times when I'm backstage in the hotel or on the bus, I would have new ideas.
After the first couple of years recording, I did a lot of praying. I said, 'Lord, please give me a hit.' I want one so bad.
I am financing the recording myself. So I have no big names to drop.
Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.
I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.
It varies from song to song, although Buck Owens and I recently collaborated on writing a duet together and am looking forward with a great deal of anticipation to recording that track for the new studio album.
You can't make up anything anymore. The world itself is a satire. All you're doing is recording it.
When I'm acting I don't sing, and when I'm recording I'm not acting.
I guess some of today's programming has rubbed off on me because I find myself having to set time around for touring, putting that together and then setting time around for recording.
I began both auditioning with Pearl Jam and recording for Eleven. In the fall of 1994, I joined Pearl Jam.
I got out of high school, bought a recording studio and started operating it as an engineer and a producer.
Recording an album and doing it live are like two different animals. There are some people that are great singers live, horrible in the studio.
I knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.
The very first Walnut Whales recording was recorded just a few weeks after I had started singing, out of the blue, started singing. And the voice, you can hear how uncomfortable I am with it, and how terrified I am with it.
Well, T Bone's had a remarkable career as a producer since the time that we first worked together. He was dividing his time between recording and producing when we first met, and touring. We toured together and we were great friends.
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.
Our healthcare system has seen some of the greatest achievements of the human intellect since we started recording history: We're developing incredible devices and implantables to improve the quantity and quality of people's lives.
I did my thing with Jive. I was a national recording artist, but I had run into a wall.
Songs like the Buck Owens tune, for example, are very simple and straightforward, and recording it really gave me a chance to get into and get a sense of Buck's personality, a feel for that whole Bakersfield sound.
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.
