A Quote by Cecil Taylor
Doesn't that fool know I recorded that song because I like it?
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Once the song is done and recorded, I like to go back and then cut the drums, because then I know exactly what the song needs, and what it doesn't need.
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.
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.
I'm no longer beholden to the sacredness of the recorded song as some kind of ultimate standard by which every performance of the song is measured. I like to diversify, that there are multiple versions of every song. And the songs incorporate a lot of improvisation, and an element of chance, and I think that's exciting. There's no one true formulation of a song, they have various manifestations depending on the space we're in. I like that.
I recorded the song 'Believers' because I feel the song has a strong and much needed message. We all need encouragement and something to believe in.
I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.
That's the beauty of creativity. It comes from the ether. I like to think, sometimes, it's like I haven't written it, it's more like I just reached up and grabbed it from somewhere. That song, 'Song of the Red Rock Mountain,' is one of them. I recorded it and thought, 'Where did that come from?'
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.
A recording of a moment in time, where I was physically there, and it's now in a song for all eternity, in a way. It's really weird. I had written the song, but I'm also physically there in a way I'm physically inside the song, because I've recorded something that's in there.
'Can't Get Closer' I originally recorded in about half an hour, just on my bed with a microphone. I actually re-recorded the song with a cleaner vocal take, but I decided to leave the demo version on there, just because I felt that instant where it was created is what captured the most emotion.
Every single day I wrote a song, I was hoping somebody like Luke Bryan, Jason Aldean or whoever would record the song. It's tough to do because there are so many great songwriters in Nashville, and I was lucky enough to get some songs recorded before I got my record deal.
I definitely like the oddballs. There's a song called 'Little Thing,' which is the only song that I have recorded that has no words. And it's the one that I get past my critic inside me.
For Valentine's Day, I wrote my crush a song and had it professionally recorded. I never released it, though, because I wanted it to be a song just for her. I thought it would be more special that way.
I'd just recorded it in Mariah Carey's studio. THey thought the song was perfect for Nina, because she's so shy, so it was nice to have that connection with Nina in the song. It was special.
In 1966 I recorded my first bolero album. I was about 18 years old then and I recorded it because I wanted my parents to know that I hadn't lost my identity of being Latino.
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.
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