A Quote by Toni Braxton
I can't record in the morning because I sound like Barry White.
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I think I sound like Barry White.
I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.
I used to enjoy all the white bands when I was a kid listening to the radio. But the record companies, they take music and label it - like, they say "rock". Because the white singers can't sound like James Brown, they call him "soul". They've been doing that for years. That's the prejudice crap.
We were ready to launch Barry White, but the record company wouldn't put it out. Said it wouldn't sell.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.
I like remixing Barry White and ABBA songs.
When Sinatra was alive and singing, he was constantly changing orchestrators from one album to the next because he said he didn't want every record to sound like every other record.
As a kid, I wore the same Oakland A's hat for like six or seven years. It was faded white and green. It was because I loved Barry Zito and he had signed that hat.
But now, with the last two years of touring and being on the road, I've learned that a live show should never sound like a record; a record should sound like a live show.
If you make a strange, eccentric record - like the Velvet Underground's 'White Light/White Heat' - it takes on its own mood because it's less about a shrewd marketing plan; it's more about an individual emotion.
The first time I was on Letterman, I was, like, 20 years old, and I was on a show called 'Camping with Barry White Night.'
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
On every Bright Eyes record, there's some kind of sound collage that begins it. Some of them have dialogue, some don't. I like it because it can kind of slow down the attention span a bit. It's a way to draw you in to the rest of the record.
If you record the sound of bacon in a frying pan and play it back, it sounds like the pops and cracks on an old 33 1/3 recording. Almost exactly like that. You could substitute it for that sound.
In the morning light, I remembered how much I loved the sound of wind through the trees. I laid back and closed my eyes, and I was comforted by the sound of a million tiny leaves dancing on a summer morning.
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