A Quote by Dimebag Darrell
When you're on the road, you've got to have your four-track - or some kind of recording device to jam on and have a good time.
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Road racing at the moment because it's still so new to me. I like the fact that they are longer and teamwork is important. I guess the same is true for track, it's just that I have used track this year as a training device to improve my sprinting in road racing.
If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.
You may be good, but what are you good for? You've got to be good for something. You've got to be about some project, some task that requires you to be humble and obedient to the universal principles of service. You've got to live a life of complete and total integrity in order to give this kind of service. This integrity enables you to love other people unconditionally, to be courageous and kind at the same time, because you have integratedness inside your own soul.
I approach writing stories as a recorder. I think of my role as some kind of reporting device - recording and projecting.
When you factor in population growth, it's clear that the mobility model that we have today simply will not work tomorrow. Four billion clean cars on the road are still four billion cars, and a traffic jam with no emissions is still a traffic jam.
With Joe Walsh, that was kind of random. I'd written 'Hi-Roller Baby' for myself while I was at Island/Def Jam; literally, four years later, it got cut. Songs can be around for a long time.
I'm from the generation that's always been recording, from the very beginning. I learned to play the guitar on the four-track. I started listening to music at a time when people were doing recording at home, when the discussion about songwriting correlated to the discussion about producing and engineering. I think that's a description of my generation.
I don't like the way recording to digital sounds. Most of the time when I'm recording to 2-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
I'm always writing something. I've got so much stuff, I don't know what to do with it. Some of it will be Strokes, some of it will be I don't know what - stuff for pop singers. TV themes. I've got a jar stuffed with songs, all these ideas that are just me humming into a recording device.
I don't like the way recording to digital sounds. Most of the time, when I'm recording to two-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
I think every league is good. Every league is pretty much the same: You got your top teams that are all very good, you got middle of the road teams that are really good and then you got your bottom of leagues that are all kind if fighting to get really good. I think it's pretty much the same across the board; I've said that for a long time.
My entire life, I wake up, and at some point in the afternoon, I head toward some kind of musical recording device. My entire life.
I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.
I mean, you've kind of got the track down, especially with ovals. The only thing that improves is that when race conditions come, you know what to expect slightly more from the track and from your car.
I began both auditioning with Pearl Jam and recording for Eleven. In the fall of 1994, I joined Pearl Jam.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
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