Sometimes, you write things that sound really great when you're at home but don't work when you shine the light of an audience on them. Great writing and live writing are two separate things.
I want to feel passion, I want to feel pain. I want to weep at the sound of your name. Come make me laugh, come make me cry... just make me feel alive.
We can't be anti-everything - we need an energy plan that adds up. But there's a lack of numeracy in the public discussion of energy. Where people do use numbers, they select them to sound big and score points in arguments, rather than to aid thoughtful discussion.
Around '75 when the recession hit, club owners started going to disco because it was cheaper for them to just buy a sound system than it was to hire a band.
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.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
I've always chosen my band members based on their sense of humor. It might sound stupid, but it means not only are they fun to live with on a tour bus for years, but humor implies intelligence.
The Long Island Sound is an environmentally unique estuary that needs to be protected.
I've seen a study in the last year that digital sound actually induces stress in the listener.
What is a poet? An unhappy person who conceals profound anguish in his heart but whose lips are so formed that as sighs and cries pass over them they sound like beautiful music.
The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.
I am very concerned about the millions of baby boomers who are counting on the stock market to deliver them a safe, sound, long retirement. I am afraid the baby boomers who are counting on the stock market are in trouble.
I don't mean to sound like a Pollyanna, but for me, New York is the ideal because of the diversity here. 'Billy on the Street' is really informed by that.
'Piku' was driven by subtleties. Most films come with the padding of the sound, the visual, the drama.
I had different bands. I played with the Acoustic Warriors for the most part, without girl singers. It was the same kind of sound, acoustic guitar, bass, with violin and sometimes accordion, and the guys would sing, that kind of thing.
Usually, impersonations come out of something you dig, because you're listening to it over and over. And you kind of start developing... You're really trying to emulate them, then you realize, 'I sound ridiculous doing this. Oh, hey, maybe this is a funny impersonation.'
I wanted to make good records. But my problem is I've got a low boredom threshold, so I wanted it to look and sound different with each album, which is really tantamount to suicide, cause people lose it, they lose it - they say: 'I like that, and that's not this.'
The media works in sound bites. They can make you look like a genius or stupid.
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
The equipment you've got really dictates what you're going to do. When I started touring, there were no monitors, so I had to take the sound from the hall, and of course it was on a delay, so I would sing, and then I would hear it back, but later. It was very weird.
I've always liked to be on my own, since I was young. I like the sound of a quiet place. It helps me focus.
There are things that I am nostalgic about from the 'good old days.' I loved motion control cameras, actually. I love the way they sound. I used to do a lot of miniature work, and it's still warranted, but it's done less often, largely for budgetary, schedule, and flexibility reasons.
When you repeat, in that wooden and perfunctory way, that our situation is better than others, that we're 'well-placed to weather the storm', I have to tell you that you sound like a Brezhnev-era apparatchik giving the party line.
I realize how much my life lines up with artists like Marvin Gaye and Sam Cooke. My sound comes from church, but the stories come from actual personal experience, being out there in the streets living life.
I'm not the best singer in the world; I'm just good at picking up what I want to sound like.
My favorite rhymes are sort of half-rhymes where you might just get the vowel sound the same, but it's not really a true rhyme. That gives you far more flexibility to capture the feeling you're trying to express. But sometimes it's best not to have any rhyme.
I've always enjoyed film, but I'm a little afraid of it because I think it is very powerful as a medium. You have the visuals, the sound, the colors, all of these things coming at you, and they transport you physically so it becomes this surround sound, virtual reality.
I had a band called the Sound Of Love, and that was R&B songs about girls in my high school. I played in some other indie bands who were trying to make it big; those sucked. Then I started Makeout Videotape, and that was that.
The idea of 'Badlands' was creating a space with sound, which is a really difficult thing to do.
I like pop music. I also like the sound of a dying refrigerator. I can listen to that for an hour and a half if I'm in the mood.
I didn't want my records to sound like anybody else, and when I've got my guys in the studio, I have a language with those guys because we work together every day. A lot of times, you bring in outside guys, studio players, whatever, and they're great musicians. It's just that they don't necessarily play the way I want it to be played.
Before 'Scandal,' I was actually cast in two other pilots. Both went to series, but I was fired and recast. For both, it was because they wanted me to sound more 'girlfriend,' more like 'hood,' more 'urban.'
Some artists want a producer to be a kind of svengali - someone who actually creates a sound for them.
I come from a state with many sound, responsible banks.
You know, there's that temptation in interviews to make yourself sound - well, to give yourself a bit of mystery.
I try to think of school - this is going to sound awful - as something I do in my free time.
