A Quote by Tony Levin
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.
Related Quotes
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
I love songwriting ! It's my Number One passion other than performing. Well, actually it's like wearing three different hats: songwriting, recording and performing. They're all completely different and draw on different types of skills. With recording, there are so many different phases of production, and you have to be very careful because you can polish it until it doesn't shine.
I try to listen to as much as possible. I know some people really try to avoid music when they're writing and recording, but I am very inspired by so many different musicians, and I need to learn.
It's hard enough to make a good song and a good recording of that song. But to try to tailor it to some outside force is just like - It's never been a factor in what I've done or what the band's done.
Learning how to record has been super empowering for me, because I spent so many years going into the studio and watching other people do it. I guess a lot of musicians have gone through this because now recording is really available for everybody.
Some of the stuff, I absolutely don't remember recording it, it's been so long. But I do like to try to throw in something a little different for the audience once in a while. Because a lot of these people who come to see have come back many, many times.
Billie doesn't actually like recording sessions at all. We like making music together. She doesn't like going to some big studio and having them pretend to be a therapist for a couple hours. So by default, we always make the good stuff together.
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 know some people really try to avoid music when they're writing and recording, but I am very inspired by so many different musicians, and I need to learn. I sit around and try to play along to certain songs that I really love. It helps you explore new territory. I don't think I listen to enough.
Pop music often deals with subject matter like breakups, or you have songs that are like, "I will love you forever," or "you're so hot right now," or "I really feel you," or "We should be together." There aren't that many songs that are like, "I just walked into the room and now I have nothing to say because I feel so awkward because I fancy you so much." There's not as many songs that deal with that awkward bit about love; about how you can really have such a huge crush on someone that actually is completely disabling.
You have to keep the recording process open. If you make too many decisions before you go in, you can lose out on those serendipitous moments that can really make a record, that I think are always required in the making of a really good record.
For the first records I really never thought about anything other than the song itself. I thought that this was what the job of a songwriter was. I was really approaching music from a very different standpoint. To me when I was younger the song was just the melody. I think as I've gotten older and have been recording myself I've become aware of just how many layers can exist within a song besides just the main vocal.
Well, I've been recording myself on a computer since I was about 13 or 14. So it's completely entwined with my creative process. Essentially, it allows you to make music that's better and smarter than you are, by using your ears to lead the way.
You don't know how many celebrities I've gone into recording sessions with who first are kind of weirded out by us freaky voiceover people, then when the day is over, they want to stay. They haven't had that much fun acting in ages. It's hard to have any attitude about it.
I decided to create a really good laptop recording situation and to learn how to write that way, rather than have the perfect stuff around.
Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.
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