A Quote by Andrae Crouch

I do go back and listen to my songs. I'm biting my fingernails the whole way through, but I do listen. I have a lot of songs I've wanted to re-record just because of how advanced technology is and the different instrument sounds that I'm more experienced with.
I can listen to the same song back-to-back for two to three hours straight. I'm not psycho; I swear. There are some songs I won't listen to any more because they are songs that helped me get to emotional places. Even if I hear it, I'll have to walk out of the room or turn it down. It sounds so strange but those things affect me in a certain way.
I think that if they want people to listen to ten or twelve songs, they have to give the listener a reason to listen to ten or twelve songs or to buy ten or twelve and listen to the whole thing instead of just pulling one or two for their iPod or their computer.
There's songs you listen to at really heavy times, and you associate those songs with being depressed. 'English Rose' by The Jam, I can't listen to - it's just too heavy for me. 'Julia' by The Beatles, too. That popped up the other day, and I had to skip to the next song. They're both really awesome, moving songs, but I can't listen to them.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble. I don't only listen to the guitar player.
There's enough songs for people to listen to, if they want to listen to songs. For every man, woman and child on earth, they could be sent, probaby, each of them, a hundred records, and never be repeated. There's enough songs. Unless someone's gonna come along with a pure heart and has something to say. That's a different story.
It's hard to listen to your own record or your own songs and not pass judgment in a critical way just because it's your own thing. It's weird to sit down to listen to it to enjoy it.
One way to practice staying present is to simply sit still for a while and listen. For one minute, listen to the sounds close to you. For one minute, listen to the sounds at a distance. Just listen attentively.
When you love what you do, you just really fall in love with it. Sometimes you record a lot more songs than the album will even hold. You record like 300 songs and only 12 songs go on the album. It takes time. But if you love what you do, it works out.
A lot of people put out albums with sort of crappy songs and a couple of singles because they know no one's going to listen to it anyway. We very much wanted it to be something that you do listen to from beginning to end and had a narrative that was important.
I know that people don't listen to music much in the way when they'll put on a CD, sit down, have a drink or go on a car journey. People pick and choose and just listen to tracks. But when I make a record, I try to think about it as a 50 minute musical journey, so the mood is very important, as is the sequence of the songs.
I think the best songs that come to me are ones that you sort of listen for. The ones - when I listen to some of my old stuff, I can tell when I had a good idea, but I forced it through, and I can hear myself - the bit that I've written, which sounds clunkier than the stuff that just sort of comes.
The beauty of Billie Holiday is that she gave every singer after her the license to interpret and perform music in ways that were unique to each of us. Her uniqueness was very much a part of the way she sang the songs, the story she wanted to tell through the songs. I didn't really have a full understanding of Billie until I left home -- until I'd lived a little, shall we say. At different seasons of my life, when I'd sing her songs or listen to her albums, I'd hear things I didn't hear before. Wherever you are in life, you'll hear different things in her songs.
When I listen to and play the songs from 'Narrow Stairs' now, that record feels like a record where we had established a style that arguably was more our own than it was in the beginning. Going into that record, I felt a lot more confident in my songwriting. It was a fairly prolific time for me.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.
I grew up listening to an album start to finish, and you don't skip songs. You don't listen to a Paul Simon record and skip a song: you listen to it the same way you would eat a meal... the way the person who prepared that meal for you means for you to experience it. That's how you should do it before you add salt and pepper to it.
I write the songs, go in and record them, then I listen to everything and decide how it all fits together.
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