A Quote by Marianne Faithfull
The equipment you've got really dictates what you're going to do. When I started touring, there were no monitors, so I had to take the sound from the hall, and of course it was on a delay, so I would sing, and then I would hear it back, but later. It was very weird.
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Then I got a gig with an older friend who had the equipment and he played in this bar. They would bring me in the bar through the backdoor and I would DJ in the back room most of the night. Then they'd take me out the backdoor, so I was never really in the bar.
When I started out playing guitar and singing, I was about twelve, going on thirteen. The role models for me back then were the folk singers. They all had these high, really nice voices and ranges, like Judy Collins and Joan Baez, and then later, of course, Joni Mitchell and Linda Ronstadt. I decided early on that I was going to learn how to write songs really, really well, because I didn't want to have to compete as a singer. I didn't feel that it was my strong point.
I learned to play guitar on my lying back while I was bed-ridden. I only thought to record the songs because sometimes I would I couldn't remember what I had just done. Eventually I started singing, because I thought if I sang it that would help to remember even more. But I wasn't trying to sing. And then one day-this is really weird -I just wrote a song. It came out at a rapid rate and I recorded it and I listened back to it and was like "Wow, it's a tune."
If people would've heard what we were doing back in the clubs in the late '90s, they would be really shocked to find out how country our sound really was back then.
I cannot sing karaoke because it's hard and weird. If I actually tried to sing, I would probably sound good, and I think that's weird and not fun.
We didn't realize there were that many boy bands until we started touring in Europe. I don't think we were ever affected by it since a lot of the groups in Europe didn't really sing live, but we did and would perform a cappella as well.
When the OutKast sound changed and I started producing my own records, I would mirror what I thought that character doing that music would look like. As the sound got a little wilder, freakier and funkier, so did the clothes. Then when the sound got more sophisticated, the clothes changed again.
Touring was an abstract idea for me in the beginning. I didn't know where it was going to take me, but I knew that I wanted to go and play for lots of people. I always had that image in my mind. I had no idea what the touring experience was like, and how it was going to unfold, but I knew that I wanted to tour. Then it just started happening slowly started happening.
Whatever happens when we die, it would be really weird if it was what we had expected. Even if you were a lifelong Christian believer, it would be kind of weird if there actually were pearly gates.
My brother was in high school and he had a garage band going, but no one would sing. They were covering a Hatebreed song at the time and I knew the words for it. My brother knew I knew the words, so he came inside the house and he's like 'Hey Mitch, come out here and sing'. I did it and after that I started a band with my older brother. That's how I got started.
To me, an untrained ear, a young person at the time, I would hear off the different feels, all these different sounds, and then years later realize that everyone had used the same equipment, just to their own ends.
I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.
Culturally, I found myself in a very weird situation: you were the person that had made that journey to the West, and then you were going back to comment on something, and then suddenly you were questioned and told, "You can't touch that now because you're a pop star."
I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.
I read ' Treasure Island' for the first time at university. And I started to notice then how unresolved some things were. Later, I realised that Stevenson was interested in sequels, and I wondered whether he would have gone back to it had he lived longer.
I read 'Treasure Island' for the first time at university. And I started to notice then how unresolved some things were. Later, I realised that Stevenson was interested in sequels, and I wondered whether he would have gone back to it had he lived longer.
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