A Quote by Lenny Kravitz

When I was a kid and I bought a record, I ripped that thing open, I wanted to know who was playing what, what studio it was cut at, who was the string arranger, who was the engineer.
Thomas hated the people who'd taken this poor, innocent kid form his family. He hated them with a passion he didn't know a human could feel. He wanted them dead, tortured, even. He wanted Chuck to be happy. But happiness had been ripped form their lives. Love had been ripped from their lives.
I got out of high school, bought a recording studio and started operating it as an engineer and a producer.
My son and I run a string company, and he has a studio there, and I go down sometimes and we'll record.
I think that where it came from and the initial birth of it - it did come out of a jam at Bruno's studio, you know? He was playing drums. And Jeff Bhasker, who co-produced the record with us, is on synths, and I was playing bass.
The thing that I always notice that dates a record is the rhythm section. With a good arranger the music can be timeless. But, rhythm can change, because heaven knows, we didn't know rock was going to come in, did we?
This is what happens: somebody—girl usually—got a free spirit, doesn't get on too good with her parents. These kids, they're like tied-down helium balloons. They strain against the string and strain against it, and then something happens, and that string gets cut, and they just float away. And maybe you never see the balloon again . . . Or maybe three or four years from now, or three or four days from now, the prevailing winds take the balloon back home . . . But listen, kid, that string gets cut all the time.
But once that string gets cut, kid, you can't uncut it. Do you get what I'm saying?
Well, I guess that early 12 string. The first Martin I bought. I bought it around 1957 with money I earned as a janitor assistant. I bought brand new. I still have that.
Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.
Simon Hale, the British arranger, does all string and wood arrangements on my records
Simon Hale, the British arranger, does all string and wood arrangements on my records.
I bought everyone in my family a car, I bought my mum a convertible Mercedes. I bought a studio at a ridiculous cost - just insane.
God in heaven holds each person by a string. When you sin, you cut the string. Then God ties it up again. Making a knot, bringing you a little closer to Him. Again and again your sins cut the string and with each knot God keeps drawing you closer and closer.
I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.
I knew I wanted to be an engineer, but I didn't know what type of engineer. I chose electrical engineering primarily because it was the hardest one to get into. It's ridiculous when I think about it now, but it worked out OK.
I've sort of decided that I can settle for being just the artist, arranger, writer and part-time engineer. That seems like enough to do.
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