A Quote by Amit Trivedi
Sometimes, I record rough patches of tunes and take them to directors. They choose to retain my voice. Personally, I don't like my voice, and never want to record.
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The lyrics are usually the last take. So after like five times, saying it over and over again, your voice starts to relax and you get into the groove of the record. Personally I don't raise my voice; my voice is usually lower, more casual.
First of all, you have to understand that I'm like anybody else. When I hear my voice on a record I absolutely loathe my voice. I cannot stand my voice.
In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have. It was a case of pulling whatever resources I had to get the sound I wanted, but that doesn't take anything away from the authorship. They are songs written by me that sound the way I want them to sound. Whether it's my voice or someone else's doesn't make a difference to the music.
You don't get to choose your voice! I was never like, 'Oh, I'll take the voice that causes dogs to gather outside.'
When I was growing up, I was so fascinated by Mel Blanc and all of the different voices that he did for 'Looney Tunes' and watching Robin Williams record voice-over for the genie in 'Aladdin.' It always seemed to be a major honor - something you have to earn. Like people trust you when they want to have you there without seeing you.
People want to be the first with the record, they want to be the first to know which songs are on the record, all that kind of stuff. So I like to just stall them a bit. Personally, I love the idea of an album that's completely new, that no one's heard any free downloads, any pre-record releases, all that kind of stuff, and nothing's been played on the radio. Totally virgin, you know, a sealed record. That's my ideal, but it's very hard to get anybody else to agree to do that.
If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.
Once a composition is complete I sing the track and send it to the director. He sometimes suggests I record them in my voice, and I go ahead.
The beauty of having a studio is I can go in and record any time I want to, so you can always put down your ideas or whatever. You use your voice recorder and, you know, take your voice notes down and just preserve all the little jewels and gems when you're in there, putting that song together.
There are no words and there is no singing, but the music has a voice. It is an old voice and a deep voice, like the stump of a sweet cigar or a shoe with a hole. It is a voice that has lived and lives, with sorrow and shame, ecstasy and bliss, joy and pain, redemption and damnation. It is a voice with love and without love. I like the voice, and though I can't talk to it, I like the way it talks to me. It says it is all the same, Young Man. Take it and let it be.
I can't write from the subconscious actually, because a lot of the time when I co-write with other people, I'm writing for them as opposed to for myself. When it comes to lyrics, I tend to want to give them their voice, since it's most likely going to be on their record, or somebody else's record. And I find for more commerial-style music, people want simplicity, less vagueness, and less space to fill between the lines, so to speak. So I can't be quite as ethereal and mystical.
Voice of the Spirit' was a project I'd been talking about for a long time. It began as an Appalachian record. But it's a record of all pure Southern gospel.
Sometimes I can't sleep 'cause I can't get a melody or a beat out my head, so I just have to wake up and, like, record it on a voice note.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
I have to believe that I know what's best for me. For instance, I choose all my songs. I never record anything I don't want to record. No one tells me what concerts to do.
I never met Johnny Cash personally, but I feel like I did because I listened to so much of his music, and even though he's gone, it's still there: you can go pull a vinyl record out and hear his personal thoughts and his voice and feel connected to him.
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