I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.
I just do these 'Sleep' type tracks when the situation presents itself. I never set out to do them, like wait all day until I'm really tired or something. Gotta come natural.
'Suffragette' is an intense drama that tracks the story of the foot soldiers of the early feminist movement as they fight for the right to vote.
I write by myself and then deliver the song. Everybody knows, 'Leave Ester alone when she's in her zone.' Give me a studio and the tracks, and I'll call you when the doctor is done.
When things start running a bit too well on the tracks, I tend to derail them if I can.
I want to have a huge album that's, like, 18 or 19 tracks. I hate those albums where there's only, like, ten tracks, and you're left thinking, 'Is this it?'
I'm used to making songs; that's how I learned to make music. My structures will always be more like pop songs than dance tracks.
Riffs are a repeating thing. They come back to you. Some of the things on 'Back in Black' were ideas we had knocked around on tracks before that: 'That bit - maybe we should take a chunk of that and slug it in here.'
Every person has parallel tracks. You have your personal life or your life as an artist, or whatever it is you do.
I'm so happy people have enjoyed listening to my tracks.
A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.
I always practice, even on the cat tracks or in those interstitial periods. My dad says, 'Even when you're just stopping, be sure to do it right, maintaining a good position, with counter-rotational force.' These are the kinds of things my dad says, and I'm like, 'Shut up.'
The banked oval tracks are obsolete tracks for Indy cars.
Not many people know this, but when Yes first started doing club dates back in 1968, '69, we did a few tracks from 'The Magic Garden' album in our set. We just loved the harmonies that the 5th Dimension had as well.
Black people lived right by the railroad tracks, and the train would shake their houses at night. I would hear it as a boy, and I thought: I'm gonna make a song that sounds like that.
Having blown up my own long-term marriage via an extramarital affair, followed by a traumatic divorce, I tend to think of love as less a gently glowing hearth than a set of flaming train tracks you strap yourself onto.
I was born on the other side of the tracks, in public housing in Brooklyn, New York. My dad never made more than $20,000 a year, and I grew up in a family that lost health insurance. So I was scarred at a young age with understanding what it was like to watch my parents lose access to the American dream.
When I started making my tracks in the style that people call tropical house, I didn't do it on purpose to make it sound tropical. I made whatever I felt sounded good. I just wanted to make my own thing, and then suddenly people started calling it tropical ... I'm like, 'Yeah, that's probably a good name for it.'
I believe that tracks speak to me. Some tracks make me write certain music or make me feel sad or inspire me to write a sad love song. Each track has its feeling to me.
Elton John can be a master of the sleight of hand. The arrangements make it seem like there are substantial melodies underneath the tracks - but almost nothing demands repeated listenings. Similarly, he always sounds like he's singing up a storm, but his voice glosses over the material, reducing most things to an uninteresting sameness.
What is beauty, anyway? It's more than something pleasant looking. If it doesn't stop us in our tracks and make us unable to move for a moment, unable to put into words what's closing off the breath in our throats, then maybe it's pretty, but it probably isn't beauty.
Blending tracks and weaving and manipulating prerecorded music to create this mood, some people do it much better than others.
Who else is putting seven figures down for unreleased rap tracks?
There are so many forms of soul: David Bowie was soulful as hell; Johnny Cash was soulful as hell; you also have a Prince, a Stevie Wonder. I want to bring my perception of that and not live inside the box of, 'This is the type of tracks you get,' 'This is the type of drums you get.'
I have never played cricket for selfish reasons like scoring 800-900 runs on flat tracks to make a comeback.
