If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
WARNING: The following is a transcript of a digital recording. In certain places, the audio quality was poor, so some words and phrases represent the author's best guesses. Where possible, illustrations of important symbols mentioned in the recording have been added. Background noises such as scuffling, hitting, and cursing by the two speakers have not been transcribed The author makes no claims for the authenticity of the recording. It seems impossible that the two young narrators are telling the truth, but you, the reader, must decide for yourself.
A couple of months ago I had a dream, which I remember with the utmost clarity. (I don't usually remember my dreams.) I dreamed I had died and gone to Heaven. I looked about and knew where I was-green fields, fleecy clouds, perfumed air, and the distant, ravishing sound of the heavenly choir. And there was the recording angel smiling broadly at me in greeting. I said, in wonder, "Is this Heaven?" The recording angel said, "It is." I said (and on waking and remembering, I was proud of my integrity), "But there must be a mistake. I don't belong here. I'm an atheist." "No mistake, " said the recording angel. "But as an atheist how can I qualify?" The recording angel said sternly, "We decide who qualifies. Not you." "I see, " I said. I looked about, pondered for a moment, then turned to the recording angel and asked, "Is there a typewriter here that I can use?" The significance of the dream was clear to me. I felt Heaven to be the act of writing, and I have been in Heaven for over half a century and I have always known this.
I saw Damien Rice in Dublin when I was 13, and that inspired me to want to pursue being a songwriter... I practised relentlessly and started recording my own EPs. At 16, I moved to London and played any gigs I could, selling CDs from my rucksack to fund recording the next, and it snowballed from there.
There is only one thing a writer can write about: what is in front of his senses at the moment of writing... I am a recording instrument... I do not presume to impose 'story' 'plot' 'continuity'... Insofar as I succeed in Direct recording of certain areas of psychic process I may have limited function... I am not an entertainer...
William S. Burroughs
There is only one thing a writer can write about: what is in front of his senses at the moment of writing... I am a recording instrument... I do not presume to impose "story" "plot" "continuity"... Insofar as I succeed in Direct recording of certain areas of psychic process I may have limited function... I am not an entertainer...
William S. Burroughs
Recording studios are filled with technology. They are set in their ways. And to update them means you'd have to change them back. That would be my idea of upgrading. And this will never happen. As far as I know, recording studios are booked all the time. So obviously people like all the improvements. The more technically advanced they are, the more in demand they become.
We actually halted the recording process to go to the funeral, and we took a couple days off of the recording process to hold a benefit show for the family. Dime was a huge inspiration to Danny (guitarist Dan Donegan) and all of us, really. He was our friend. We dedicated the record to his memory.
Sour Patch, Swedish Fish. I love candy, man. I can't go without candy. And when I'm recording, I always have a TV on with cartoons - on mute, though. When I'm recording, I like to look at the TV now and then and see some crazy, wacky stuff. When you're thinking creative, it just keeps you creative. Everybody got their way of making music.
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.
The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.
I love songwriting ! It's my Number One passion other than performing. Well, actually it's like wearing three different hats: songwriting, recording and performing. They're all completely different and draw on different types of skills. With recording, there are so many different phases of production, and you have to be very careful because you can polish it until it doesn't shine.
I'm from the generation that's always been recording, from the very beginning. I learned to play the guitar on the four-track. I started listening to music at a time when people were doing recording at home, when the discussion about songwriting correlated to the discussion about producing and engineering. I think that's a description of my generation.
What's happened is that, almost overnight, we've switched from democracy in real-property recording to oligarchy in real-property recording. There was no court case behind this, no statute from Congress or the state legislatures. It was accomplished in a private corporate decision. The banks just did it.
I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.
I'm so honored to be on this recording with Ann & Nancy Wilson. They are iconic and I've truly been one of their biggest fans since I was a kid. And what a perfect song to sing with them, since I adore Vince Gill and have been very proud for his commitment to his own musical vision. When we were recording at Nancy's house, and even though I'm friends with those girls now, I had to keep 'pinching' myself and marvel at how blessed my life is! It was a very PROUD moment for me.
I remember before I did my HBO special, Chris [Rock] screamed at me - in a loving way, but still. He was like, "You need to do 200 shows in a row and a month straight on the road before you even think about recording a special!" And I had literally booked two weeks on the road and then went right into the recording. It put me in a panic, but it also made me work harder and made me realize that everyone works differently, and that's okay.
How is the mind which functions on knowledge how is the brain which is recording all the time to end, to see the importance of recording and not let it move in any other direction? Very simply: you insult me, you hurt me, by word, gesture, by an actual act; that leaves a mark on the brain which is memory. That memory is knowledge, that knowledge is going to interfere in my meeting you next time obviously.
A woman's voice answered, "Hello?" Walter cried back at her, "Hello, oh Lord, hello!" "This is a recording, " recited the woman's voice. "Miss Helen Arasumian is not home. Will you leave a message on the wire spool so she may call you when she returns? Hello? This is a recording. Miss Helen Arasumian is not home. Will you leave a message -" He hung up. He sat with his mouth twitching. On second thought he redialed that number. "When Miss Helen Arasumian comes home, " he said, "tell her to go to hell.