A Quote by Ian Gillan
The thing to remember when you're re-recording pieces from the past is that you have to have respect for the original performances, recordings, and arrangements.
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One of the greatest live recordings, I think, in the history of the world is Ray Charles in Atlanta... And they didn't even have a big mobile recording thing set up. The word on the street was they only had like two microphones, one for the band and one for him. Perfect recordings. I think it's mono.
My favorite song as a boy was definitely 'Downtown' recorded by Petula Clark. I still love it! And the original cast recording of 'Gypsy'; I played my mother's cast recordings until there was no vinyl left.
I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.
Artists should re-emphasize performance and de-emphasize recording. You always make more money if you have a healthy performing life than you will if you have even a moderately healthy recording life. Don't make recording the most important thing you do. Make performing the most important thing you do, and then you can make recordings and sell them at your shows, because record labels aren't going to be around to help you get on the radio stations, and the radio stations probably aren't going to play you anyway.
There is a definite difference between live shows and the recordings. The recordings are for all time, hopefully, so you do want to bring across layers of subtlety. But the live show is this primal experience that everybody's having at the same time, that the recording can at best try to imitate or duplicate.
We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past--the portrayals of family life on such television programs as "Leave it to Beaver" and "Father Knows Best" and all the rest.
We want to be able to make our own songs and write our own arrangements. We want to incorporate the live sound so we can be free onstage and in the studio recording. That way we can come up with original and creative stuff.
So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.
Commanded by God dozens of times in the Hebrew Bible to remember their past, Jews historically obeyed not by recording events but by ritually re-enacting them: by understanding the present through the lens of the past.
Live performances make music important. Recording is cool and fun, and it's nice to document the thing you made, but the goal in my mind is to perform.
I'm always making music. I'm constantly making little musical recordings on my phone or on a little voice recorder I carry with me so I can remember these little pieces of music that eventually becomes songs.
If I think about the way I was drawn into the music, it was much more by recordings than by live performances.
The longer you've known someone- the more history there is between you- the longer it will take to establish in their mind that you have truly changed. Remember, forgiveness is an altogether different thing from trust or respect. Forgiveness is about the past. Trust and respect are about the future. Forgiveness will be in the hands of others and cna be given to you, but trust and respect are in your own hands and must be earned.
I'm very conscious of the fact that I devoted my life to recording music, recordings and writing songs.
I grew up loving musicals. My mom had records of original cast recordings, and one of them was 'She Loves Me.' I wore that thing out singing along to Barbara Cook when I was eight years old.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
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