A Quote by Trisha Yearwood
You have to focus hard on recording songs that you believe in.
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Everything I'm doing musically is for its own sake. I'm recording at my house, trying really hard to write songs with a four-track tape recorder.
It's hard to believe the life that 'Someone Like You' has taken on. It's proof that people hunger for great songs - and they are open to different interpretations of songs they love.
By the time I wrote those first three songs for his new CD ... I wanted to push the poetics as hard as I could push them, and not decide the songs were finished until I committed them to whatever the recording format was. I went through drafts right up until I recorded every single one of them.
People started recording my songs. Later, I was offered songwriter contracts. And then, finally, I could take the time to work on my own project. I worked hard for this all by myself.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.
I do pay performance royalties on others' songs I perform live, but I'm not recording these songs and putting them up for sale.
Yes, alas, I've been on some recording sessions where the music wasn't good. Not so many, really, considering how many I've done. It's a very awkward situation because to do a recording well you focus on the positive of what will make the piece better.
I was working two landscaping jobs; I was recording songs in the spare bedroom. I would get up at 4 A.M., go to work, get back at 6 P.M., have nap, then start recording, just go until I fell asleep.
I struggled academically in high school because it was hard to focus. It was hard to focus on those things that were other than artistic stuff.
One has to choose between engaging in stylistic research or the mere recording of facts. I feel that a filmmaker must go beyond the recording of facts. Moreover, I believe that Africans, in particular, must reinvent cinema. It will be a difficult task because our viewing audience is used to a specific film language, but a choice has to be made: either one is very popular and one talks to people in a simple and plain manner, or else one searches for an African film language that would exclude chattering and focus more on how to make use of visuals and sounds.
I chose the songs for the music more than for the lyrical content and it wasn't until the end of the recording and when we were trying to decide running order that I realized how sad a lot of the songs could sound.
Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.
I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.
I also tried to focus on songs that Billie Holiday wrote, songs that she had a hand in shaping, like "Strange Fruit"; songs that were written for her or songs that she wrote herself, like "Fine and Mellow" or "God Bless The Child."
The songs came from a more solitary place and I hadn't played them with many people before recording. So I just added the layers of people who are in my life, and built up the songs.
Once I'd chosen the songs, it seemed like it would just be a question then of recording them. But it's a case of trying to re-invent the songs; taking them in different directions.
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