A Quote by Barry McGuire
If you listen to the left track on their album, if you get The Best of the Mamas and Papas, you listen to the left track, you can still hear a little bit of my voice. My son discovered that once.
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For every album, I really try to make an album that you hopefully will listen to from the first track to the last track. I personally really like if there's a - maybe not a story, but there's a natural flow.
When you listen to someone sing from inside their head, their same mix, and you listen to their voice as loud as they like it, or the track of the band as low as they like it, you can really hear all of the nuances and the mistakes if there are any.
I don't listen to much rap, really. I can rarely listen to a whole record of it, because musically, it's very formulaic, and oftentimes it doesn't have the best hooks on every track.
Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.
I just got to hear every note. After I left Birdland, I started working at the Jazz Gallery. In the end, I still couldn't play, but I knew how to listen. I was probably the world's best listener.
I don't listen to much rap, really. I can rarely listen to a whole record of it, because musically, it's very formulaic, and oftentimes it doesn't have the best hooks on every track. I like my music to be very musical.
I kind of just lost track of laps. I couldn't hear a split. It was just so loud in here everyone was going nuts. I sort of felt like I was a little tired and I said, the people in front of me seem like they are falling off the lead pack a little bit. I should probably make a move. I hear ding, ding, ding, ding and I thought "oh crap! I've really got to go, I've got a lot left.
Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.
I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!
I listen to a lot of different kinds of music and rather than just doing one thing when I make an album, the challenge to myself is to write all these diverse tracks, but to make them work. It's like a jigsaw because if you've got a lyrical track going into a hard rock track... it's got to work. You've got to write things that will work together.
When I did my solo album, I put on a song that I'd planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.
One of the first records I bought for myself was a Keith Whitley record. I still love the 'L.A. to Miami' album. There were so many things on there - 'Miami, My Amy,' 'Ten Feet Away,' 'Nobody in His Right Mind Would've Left Her.' I can put that album on repeat and listen.
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.
I make up cassettes all the time - to take on the road with me - a song from this album, a song from that album. That's the way I listen to music; it's like one of those K Tel things: it's from all over. I listen to Fred Astaire, I listen to African folk music, I listen to Talking Heads.
'In empathic listening you listen with your ears, but you also, and more importantly, listen with you eyes and with your heart. You listen for feeling, for meaning. You listen for behaviour. You use your right brain as well as your left. You sense, you intuit, you feel.' ... 'You have to open yourself up to be influenced'.
I'm track 3 with fabulous French dialogue on the 'Star Is Born' album. I'm track 3 'NASA' on Ariana Grande's album. From 'All Stars 3,' went to 'Drag Race' three times, never won. Three is my lucky number.
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