A Quote by Anuel AA
When I made 'Real,' I recorded it over the phone in prison. I did it in a week. I had no idea what it was going to sound like. I couldn't even listen to the masters before it came out, I couldn't listen to 90% of the beats. I recorded 21 songs in seven days.
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When you did impressions on 'MADtv,' the producers gave you a Walkman that played huge sections of whatever movie was being parodied, with your character's catchphrases recorded on a loop. You'd wear this thing around during rehearsals and for a week listen to the voice you had to impersonate over and over again. It drove all of us crazy.
The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.
I often haven't heard the music since I've recorded it. I don't listen to it. When I do hear it, like at someone's house, I'll listen. I'm probably the most pleased with the stuff I did with New Grass Revival.
Every record that I've ever made, I listen to it so much before it comes out. As soon as it comes out, I never listen to it again. It's, like, over.
When I started out, I wrote the songs, recorded the songs, mastered, mixed, did the artwork, made the packaging and did the distribution, all myself. Now I understand what everyone's jobs are, who is doing them right, and who isn't.
I don't subscribe to the view that only puja numbers recorded during the '60s-'90s are enjoyed by the present-day listeners. Definitely the songs of that period are very popular even now, but the songs recorded afterwards are equally lapped up by the audience.
I'd written a lot of songs with hummingbirds in them. None of them ever came to anything, but I did write a few lines last month. It went like this: 'Listen to the hummingbird whose wings you cannot see. Listen to the hummingbird, don't listen to me'.
Punk rock really came out of N.Y. as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing.
I listen to old songs and remember exactly where I was living and where I recorded it and how I wrote it, the girl I was dating at the time or whatever.
My songs speak for themselves. The musicians who play on them and the way they sound and where they were recorded and the way they were recorded is the old Nashville way ... they sound as country or more country than a lot of things that are on country radio.
Actually, have you ever heard Sylvester's live version of 'Mighty Real' that was recorded in San Francisco? If I listen to that, I never fail to get goose bumps all over. I go crazy. That song just makes me so emotional.
She, uh, came out of the closet recently, my niece. Um... She announced to the family that she's a lesbian and... She's seven, did I mention that? And, uh, I don't even know if she knows what a lesbian is, but I support her completely. And, uh... I'll tell you what's heartbreaking. My sister punished her for it. Can you believe that? No pussy for a week. Which to us may not sound like... But when you're seven, you know, a week is a long time.
I hardly ever listen to any of our old stuff now. Once the songs have been recorded and put on to vinyl they become someone else's entertainment, not mine.
You find your limits by going out and trying. We're just like anybody else in any other job. You just can't work 90 hour weeks. You can't do it. We can't sing seven days a week.
It's so funny because I listen to songs that I recorded that I didn't really know anything about at the time. Later on I'm starting to feel the songs. Sing them first, feel them later.
I was 16 when I recorded 'Flashlight.' I produced it, made the beat, wrote it, recorded it.
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