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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.
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.
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.
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.
Kiri Te Kanawa
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
The sound has grown and sweetened over the years as well, and you can hear it on many of my recordings and, most likely, will see and hear me playing it if you come to a live show.
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.
Performing is a thing in itself, a distinct skill, different from making recordings. And for those who can do it, it's a way to make a living.
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.
Quite honestly, if I were doing work related to a living being or historical being where there was visual or audio recordings available, I would find that extremely difficult because I don't know how you would avoid the process of mimicry. And mimicry, to me at any rate, is a very dull prospect.
I learnt from Armstrong on the early recordings that you never sang a song the same way twice.
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.
I've come to realize that you live on through recordings; they're like a musical diary, a window into somebody's soul.
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 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 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 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.
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.
I used to think that all great recordings happened at about 3 A.M.
I listen to archival and historic recordings. I love watching singers. I learned a lot from watching videos.
One of the greatest live recordings, I think, in the history of the world is Ray Charles in Atlanta... And they didn't even have a big mobile recording thing set up. The word on the street was they only had like two microphones, one for the band and one for him. Perfect recordings. I think it's mono.
My manager came up with the idea of taking a Pro Tool rig out on the road to record every night and I thought it was a great idea. I felt like it would be good to record over a certain period of time and then take the best performances of that collection of recordings. It appealed to me that it wasn't going to be from just one location.
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.
We never got anything out of the recordings. I'm still as broke as I was when I was with the Mothers.
Jimmy Carl Black
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.
C. S. Lewis
Martin Luther King, Jr.
Leonardo da Vinci
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