A Quote by Alan Palomo
I remember a time when I would hear a band and then want to hear everything that sounded like it; I wanted it to feel like I was tapping into a thing, even if it wasn't.
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Whenever I hear somebody cover a song, I don't like to hear it stray too far from the original. I like to hear some of the new energy that a band will put into it, but you kind of want to hear some of the basic parts of the song. I mean, that's what makes it the song that you like.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
I like you a lot and because I like you, I keep following you. To be honest, I can't hear either. No, I can hear, but I only wanted to hear what I want. That you liked me, that you wanted to be with me.
It's like I'll sit down and put my hands on the piano or the guitar, and then I'll hear a sound or I'll feel a chord that will resonate and then I'll get something happening in my voice. My voice is like a car that I get into and drive but I don't know where I'm going. And I record everything. And often, I sort of get into a state, a creative state that is, where I'm just feeling around melodically, and playing things off the top of my head. Then I go back and listen to it and for the first time, hear what I just did. It's like Elvis has left the building while the thing is happening.
'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.
The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.
I don't want to hear from a band that pretty much sounds like another band. Oh I've heared this riff before, or I've heared these words that everyone is saying. I want to hear new poetry, new guitar riffs, new drum-beats, new sounds. Then I'm really interested.
I feel like, all things aside, it's a really great time to be a woman. And I don't want to hear stories from, like, white dudes anymore. Like, not really. I want to hear stories from women.
I wanted to walk over there. I wanted to curl up beside him, lean against him, talk to him. I wanted to know what he was thinking. I wanted to tell him everything would be okay. And I wanted him to tell me the same thing. I didn't care if it was true or not- I just wanted to say it. To hear it, to feel his arms around me, hear the rumble of his words, that deep chuckle that made me pulse race
Sometimes you make a record that is what you want to hear. I've made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.
When I'd hear something that sounded like I could follow it - most of those big band jazz tunes are blues anyway - I would hum it and play with the fiddle while I was humming.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
I just feel like sometimes people don't want to hear the truth. It's hard when you hear the truth. People want to hear what they want to hear. Sometimes I have a hard time with that because I'm very honest.
You may hear the most beautiful things, you may hear promises, you may hear everything you want to hear but if the person you're dating is not following up with their actions then they're just words.
Like when I'm singing live I can't hear myself. I'm just listening to the rest of the band. To listen to my voice, it doesn't even feel like it's me.
I spent a long time experimenting, saying, 'Here's a record that's free, or $5 if you want a nice version or $250 if you'd like a really nice coffee-table thing.' Everything felt like the right thing to do at the time and then six months later would feel tired. And I would feel tired. So that's one reason for returning to a major label.
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