A Quote by Levon Helm
Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.
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Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.
I think there is an enormous diference between speaking and writing. One rereads what one writes. But one might read it slowly or quickly. In other words, you do not know how long you will have to spend deliberating over a sentence. ... But if I listen to a tape recorder, the listening time is determined by the speed at which the tape turns and not by my own needs.
When I was five, my uncle bought us a tape recorder and my dad tried to record us kids talking and singing, stuff like that. There's really quite a lot of me in a really Welsh accent going, 'Can I tell a joke? Can I sing a song?' - really annoying and brattish.
'Victory Lap,' even the title. It's the accumulation of trial and error; that's what I represent; trial and error.
In the 80s, if you wanted to make electronic music, it was a much tougher and more expensive process. For many people it would involve either spending loads of money on gear or else cutting demos in a proper studio. But I had this Casio keyboard and tape recorder and used to do stuff in my bedroom - I'd listen to Mantronix and all that. That was what I had so that's what I used.
I got better the way everyone gets better: by trial and error and error and error, by fumbling around and making mistakes but not giving up and working incredibly hard at it every day and eventually, through a painful and laborious process of eliminating every wrong turn, finding my way.
In Staten Island, when you have video showing the alleged chokehold used on Eric Garner, why not go to trial and have the officer(s) explain the tape, and then this jury can determine guilt or innocence? The tape should guarantee that there should be a trial.
I don't listen to a lot of new stuff. I just like the old stuff. It's all quite dramatic and atmospheric. You'd have an entire story in song. I never listen to, like, white music - I couldn't sing you a Zeppelin or Floyd song.
Every single morning, I have a person sitting right there next to me in prayer with a tape recorder - and a song comes up every day.
Sometimes, we find what we want by also finding out what you don't want. All of that is trial and error. Once you're in that pit, the trial and error is important. It's up to us; we've got to keep moving forward.
I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.
You don't learn from a situation where you do something well. You enjoy it and you give yourself credit, but you don't really learn from that. You learn from trial and error, trial and error, all the time.
It is just like your tape-recorder. It records, it reproduces - all by itself. You only listen. Similarly, I watch all that happens, including my talking to you. It is not me who talks, the words appear in my mind and then I hear them said.
I've woken up from dreams and the whole song is there. I'm listening to it in my dreams. I consciously have to wake myself up and get a tape recorder because I hear it like a record.
Listen to the Beatles' 'Things We Said Today.' Ringo Starr does not play a fill in the entire song. It doesn't need it. 'A Day In the Life' has gorgeous fills, but there, the song needs it. When I play on any record, I'm striving to get where Ringo is. You play what doesn't take you out of the song.
There are no rules or formulas for success. You just have to live it and do it. knowing this gives us enormous freedom to experiment toward what we want. Believe me, it's a crazy, complicated journey. It's trial and error. It's opportunism. It's quite literally, "Let's try lots of this stuff and see how it works."
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