Top 90 Recordings Quotes

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.

Growing up, any time I would sit down with my grandfather to learn or talk about Carnatic music, he would bring up G. N. Balasubramaniam. Listening to the recordings he would play me, I was dazzled by GNB’s voice and how he was able to execute ideas that I could barely wrap my head around.

I don’t come from a film background. I haven‘t learned anything about films or film-making. But I have a thirst to know everything about my profession. I want to learn about cinematography, about editing, about music recordings, about post-production. So when people in the know talk, I willingly listen.

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.

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.

What we are as a live band is different to what we are on recordings, but they’re both equal versions: they’re both LCD Soundsystem, but in very different ways.

Movie stars and singers never fully pass away because their images are replayed on film and recordings, over and over.

HeyHey is my favourite app. It’s like Instagram but for sound recordings, with little soundbites from people’s days. We spend far too much time looking down at our phones, so it’s nice to have your head up while you listen to what other people have uploaded.

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.

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.

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.

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.

To me, dance is so ethereal and elusive, so much of an illusion. After a performance, that’s it. With vocals and music, you have good recordings.

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

I had heard all the rumors and controversy swirling about the ‘In Utero’ recordings – there was a lot of, ‘Oh, the record label hates it,’ it was going to ruin the band, that kind of stuff.

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 learnt from Armstrong on the early recordings that you never sang a song the same way twice.

My true memory has been tainted by old home videos of my sister and I, ages 3 and 5 respectively, singing karaoke to Britney Spears’ ‘Lucky’ in our living room, and tape recordings of my parents trying to elicit songs out of our throats at a similar or younger age.

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.

I really write at home on my own, and the demos themselves are very similar to the final recordings in a lots of ways.

I joined my father for recordings when I was 11 or so. By then, I could play a dozen instruments. My first professional recording was around that time. I played the vibraphone for Shankar-Ganesh in a Tamil film.

I’m always on the prowl for the kinds of recordings that can inspire and potentially make a difference.

I record a lot of stuff on my phone when I’m out and about and regularly use the recordings in my tracks.

I grew up loving musicals. My mom had records of original cast recordings, and one of them was ‘She Loves Me.’ I wore that thing out singing along to Barbara Cook when I was eight years old.

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.

I record a lot of stuff on my phone when I’m out and about and regularly use the recordings in my tracks.

My songs used to be significantly more bizarre. I used to play a big electric piano and a loop pedal. I was really into Regina Spektor, and I liked her narrative lyrics that were quite off the wall. I used to layer things up and try and replicate what I’d been doing with my bedroom recordings.

I’ve come to realize that you live on through recordings; they’re like a musical diary, a window into somebody‘s soul.

I used to think that all great recordings happened at about 3 A.M.

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.

Right now, I’m thinking in terms of just having a good band, man. Having a good act for the stage. Being a good performer, you know? Connected to that is future recordings, and future tunes, that kind of stuff.

There are parts on ‘Wind’s Poem‘ that are literal recordings of wind. I had this old sound effects record that I got some wind from and then I figured out that distorted cymbals sound just like wind so I used that a lot.

As I started to study old blues recordings and really pay attention to my favorites, it really started to come to me that all of my favorite pieces of music weren’t produced, they were performed. The producer is nearly invisible: no thumbprint other than the composition and the performers.

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 think maybe the vehicle for me was ‘Sam Cooke’s Greatest Hits.’ It has a song called, ‘Touch the Hem of His Garment.’ Do you know that song? I kind of got obsessed with that song and started exploring and getting more of his old recordings with the Soul Stirrers and really getting into that super, super deeply.

When digital technology started becoming the norm, you’ve got 50, 60, 70 years of recordings on tapes that are just deteriorating. Like, a two-inch reel of recording tape won‘t last forever. It dissolves. It will disappear.

‘Your Dog‘ I tried to re-record at my house, like, four times after the studio recordings were done.

Allowing valuable sound recordings to pass into the public domain does not create a public asset: it represents a massive destruction of U.K. wealth and a significant loss to the U.K. taxpayer.

I’m very conscious of the fact that I devoted my life to recording music, recordings and writing songs.

As for song recordings – well, that’s something that just happens. I’ve been working with music directors like Harris Jeyaraj sir, A. R. Rahman sir, and the experience is great.

My dad documented my whole life on video and there are so many recordings of my sister and I dancing and singing along to Michael Jackson‘s music.

The rest of the world may devour Japanese hardware – from Honda Civics to Sony Walkmans – but Japanese software, such as books, movies and recordings, has had little impact outside Japan. The exception is video games.

Anytime there is a Bigfoot show, where they supposedly have recordings of him, I am watching. I love the idea of Bigfoot. I want him to be out there somewhere.

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.

My favorite song as a boy was definitely ‘Downtown‘ recorded by Petula Clark. I still love it! And the original cast recording of ‘Gypsy‘; I played my mother‘s cast recordings until there was no vinyl left.

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.

You just go where poetry is, whether it’s in your heart or your mind or in books or in places where there’s live poetry or recordings.

I’m a huge fan of voice memos. I put down many ideas there and sometimes I even use some of those audio files in my actual recordings. You get this really raw energy from voice memos that you can’t get when you sit down in a studio with a microphone. There’s this sense of immediacy, which I’m really drawn to.

Deepfakes – seemingly authentic video or audio recordings that can spread like wildfire online – are likely to send American politics into a tailspin, and Washington isn’t paying nearly enough attention to the very real danger that’s right around the corner.

It’s people, not possessions, that make home for me. It’s not that I get much time to entertain, or any of that, what with the television production schedule and, now, singing concerts all around the country and making recordings.

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 like to stay home and listen to recordings.

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

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.

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.

As for song recordings – well, that’s something that just happens. I’ve been working with music directors like Harris Jeyaraj sir, A. R. Rahman sir, and the experience is great.

The Vikings certainly didn’t write anything about themselves; it was not a literate, but rather a pagan, culture. So what we get was written later by Christian monks. But there were occasional reportings and recordings of people who had traded usually with the Vikings.

I played cello on my early recordings, but that doesn’t mean I’m a cellist, you know?

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.

Never have so many recordings of the great Masses and motets been in wider circulation.

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.

Everybody’s got their phone up and everybody‘s taking recordings and posting it on YouTube and whatever and sending it to you, and it gets shown around the world.

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’m a huge fan of voice memos. I put down many ideas there and sometimes I even use some of those audio files in my actual recordings. You get this really raw energy from voice memos that you can’t get when you sit down in a studio with a microphone. There’s this sense of immediacy, which I’m really drawn to.

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.

There are a bunch of songs that I think are beautiful recordings, and I’m proud of them, but I’ve no interest in listening to them.

I listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.

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.

The career high would be putting out a Kids of Widney High CD on my label, Ipecac Recordings.

I always dress up for recordings.

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.

Eric’s Trip is still a huge influence on me. The style of those recordings and the rawness of them is very inspiring. And the density of the distorted parts, amazing.

I rarely get the time to watch cricket as I am busy with recordings.

My family is the engine of everything, and on a personal level, I feel peace, stability, and they give me force, which is reflected on my work, my recordings, and every time that I go out on tour. They are my base, my everything.

Movie stars and singers never fully pass away because their images are replayed on film and recordings, over and over.

I’ll go through the budgets for tours and recordings, royalty statements… You have to wise up about it a bit more.

Eric’s Trip is still a huge influence on me. The style of those recordings and the rawness of them is very inspiring. And the density of the distorted parts, amazing.

I know some bands that are precious about their new ideas. They’re conscious of the fact that people can – even from mobile phones – begin to get clearer and better recordings of the songs… so they’re a lot more hesitant to play them.

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.

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.

My interests are moving toward both ‘sound and music,’ not just ‘music.’ I have been doing lots of field recordings and also collecting lots of strange sounds.

When I look back at those pictures of my mother performing – and listen to her recordings – it makes me sad to think that all of that joy she found in her work came to an end. I wish she hadn’t had to make that sacrifice, even if it was for the benefit of my father and siblings and me.

I love the excess of Christmas. The shopping season that begins in September, the bad pop star recordings of Christmas carols, the decorations that don’t know when to come down.

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.

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.

People become so deeply attached to the sound of one period that they blow a fuse when you move on. I’ve heard people complain bitterly about recordings they haven’t even heard.

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.

Our recordings, you feel that it’s been, not labored, but you feel that it’s been constructed in a way where sometimes it’s hard for us to create the feeling that this was done in a room.

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.

Throughout college I was getting better and better at making recordings, producing songs, making different kinds of beats.