A Quote by Burt Bacharach
I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.
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Sinatra was bothered with issues of anti-Semitism and racism all his life. The song and film he made 'The House I Live In,' was a deep message against prejudice and he was very proud to have recorded the song.
There's one song that I recorded called 'Saviour' and every single sound from that song was actually recorded in a shipyard on my iPhone.
Everybody tends to overplay live. That's just the nature of playing live. And that can be great, but it can also kill something that's special, and intimate, about a recorded version of a song. You find out very quickly which songs you can play, and which songs you do damage to by playing them live.
My favorite song? 'Amazing Grace.' Anybody singing it. But the best it'll ever be done is by the Scottish National Pipe band and their National Orchestra. It'll bring tears to your eyes.
The interesting thing about a song like 'Bulletproof Heart' - it was [originally] called 'Trans Am' - the interesting thing about the amalgamation of that song was that the song also lived within us, like we all got to live with the song and it was around for about a year before we recorded it again, so the song got to really transform, which you don't really get to do.
The tune 'All My Friends,' we recorded because our friend who wrote the song, Scott Boyer, passed way, and Gregg Allman had passed and he had recorded the song on his first solo record.
I thought there couldn't be a better backdrop for some kind of powerful music than a big orchestra. My wish to hear how a guitar would sound in front of an orchestra has always been there.
I don't think about, "How does this song that has more of an electronic mix prefix to a song that has a full orchestra next to a song that has other things?" I just work on it as-needed.
At such a loving invitation, Pinocchio, with one leap from the back of the orchestra, found himself in the front rows. With another leap, he was on the orchestra leader's head. With a third, he landed on the stage.
'The Warmth of the Sun' was a very beautiful song that Brian and I wrote in the time period associated with President Kennedy's assassination. We didn't write words about that, but it was around that time we recorded that song, and there's a lot of emotion involved there.
There is something about the live performance of an orchestra that makes it very different to a film. With a film, you can rewrite it in a way with the material you have, and in rehearsals, you're really trying out different things. In an orchestra, you can't do that. They separate as soon as the performance factor comes into play.
In many ways, I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra.
One of the songs we recorded for 'The Long Run' was called 'You're Really High, Aren't You?' Which never really made it onto a record, but later on, it became 'Heavy Metal.' I took that track that wasn't used, and when I was invited to write a song for that movie, I took that track and recorded that song for that movie.
I guess I'm lucky in that I started working very young in all three of the mediums. I started in stage first, and then I moved into film, also very young, and when I did 'Taxi,' for instance, it was live in front of an audience but also filmed; that was a fun combination.
I suppose that being moved to write a song is more applicable to me, I have to be moved, I have to have a reason to write a particular song.
I don't like the idea of having to reproduce a recorded song live that I sing. I have enough to do on stage. I'm really busy up there, and I'm really busy with everything I have to do for every show. Add having to worry about my voice and singing lead on a song or two, that's not something I necessarily want to do.
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