A Quote by Pauline Oliveros
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.
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I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.
My first big break came with Lauryn Hill on a track called Everything is Everything, I played piano on that track way back in 1998.
After discovering the Ramones, I discovered really crude ways to multi-track by taking another cassette recorder and plugging that into the eight-track, playing it back, so that as I was recording with the mic in my guitar, I could have another cassette player I had recorded on feeding into the recording.
It's so hard to listen to these trains outside my window, here it comes again. And it's calling me, begging me, follow me down the track. And it moans so dark and low, baby ain't comin' back... It sounds like crying, it sounds like letting go. Breathing and lying, sinking and dying slow. And I watch from my window, touching the cold glass sky. As the train rolls down the track, I say goodbye.
I did a track with Khao, out of Atlanta, who's worked with T.I. Did a track with Maylay, who did a lot with John Legend's album. I got in the studio with Kanye West; we did a song. The dedication for the career takes a lot of work, but if you love it, it's worth it.
I'm sure there were concussions galore back when we played, but the doctors would just say, 'Shake it off,' or something like that... or 'Come on, you got to be tough... get back in there.' I see so many guys who played pro football in their 50s now who are so debilitated from having played it.
I got home, picked up my ax, turned on the four-track and just played it ... I played three solos back to back on Cemetery Gates ... the next morning, the second and third solos weren't bad, but the first had that first take magic ! .. I didn't touch it.
I wasn't banned from skiing but didn't go much in college because I couldn't afford it, and there just wasn't the time. I played football all winter, then in summer I did track and field and played volleyball.
I'll go in the studio and hear a track that I don't like, and they're trying to pay me to rap over it. But I'll tell them I just can't do it. And when they ask why, I say, 'Because then somebody's gonna hear it... damn, find another track.'
I never let track define me. That's something that's really important to me. That's what I do and it's what I love, but I think by having other things I'm passionate about and interested in, it helped me to come back. It helped me to have renewed love for the sport by being able to step away and then come back.
I always go for that live, honest feel when I'm going for that first rhythm track. I'll never hold back on a part just so it'll be easier for me to double it later on - to my ears, it sounds sterile if you do that. I always want to get that initial track kicking and full of slurs, squeals and feel. I'll worry about doubling it later!
In the space of less than seven days, I attended a track meet in Boston, flew from there to Bowling Green for the National Jaycees, then to Rochester for the blind, Buffalo for another track meet, New York to shoot a film called The Black Athlete, Miami for Ford Motor Company, back up to New York for 45 minutes to deliver a speech, then into L. A. for another the same night.
In England I played everything - swimming, athletics, football, rugby, badminton, cricket - all of that stuff. I was in the first teams for all the sports at Brighton, played on the wing in rugby, and ran 100m, 200m, 400m, and did long jump and even the javelin at one point. In the States I did a bit of track, but mainly I was there for the boxing.
'Smoke On The Water' was ignored by everybody to begin with. We only did it in the shows because it was a filler track from 'Machine Head.' But then, one radio station picked up on it, and Warner Bros. edited it down to about three and a half minutes. It then started getting played by lots of different radio stations.
I've been going to school, did theater for a long time, been plugging away for 10, 15 years. I was told earlier in my career, it's all laying track... one day, all that track is going to come together in some way, and it has.
I did try to come back and listen You never it..I didn't wish it But I did hear every answer ever question It's all about protection stil through the sunlight days I wait Track a ghost through the fog The sun is burning me And you come running out in the wind with me The ocean is your blanket.
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