Compay Segundo Quotes

I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.

Dixie Chicks surprised me with a beautiful three-part harmony version of 'I'll Take Care of You.' And Don Henley's performance of 'The Heart of the Matter' still just slays me every time I hear it.

The first time I went to Abbey Road and put those headphones on, I discovered I had two voices. I no longer had to shout in the studio, but I can't knock the Cavern or the other clubs because they gave me my strong voice.

Every time I went into the studio some engineer tried to impress me with how they're going to capture my sound with all kinds of tricks. But they limited the sound and never allowed me to play how I felt.

My comedy is different every time I do it. I don't know what the hell I'm doing.

I like to find music that shares a rhythm with the sentences I'm working on. And though I'll probably regret saying this, I think some songs actually don't sound too bad when they're played through lousy speakers.

It's interesting to be a front person who is controlling the majority of the sound.

As a singer, you can't hear what's coming out of your throat; you're only hearing it from the inside, so you need a trusted person who knows how your voice works. It's like a car. You take it to the same mechanic because they know it inside out, and every time you get it back, it works fantastic.

Some people only work to recorded music because it's so reliable and exactly the same every time, which is exactly why I don't.

Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.

I've had this song in a drawer for a long time, maybe seven or eight years. Every time I'd do an album, I'd take it out and listen to it, and always liked what it had to say. Plus when Garth came in and sang on it, that made it really special.

After that initial success, every chance we got we'd hire that remote recording truck and just record stuff at the Whisky because it was so inexpensive.

When you are making a record and if you spend too much time over it, you have to record it a tone lower or cut the tones lower because you can't reach some of the notes, I find this. But when you go on stage, you have to put the key up and it really changes the whole thing.

My goal every time I make a record is just to make the funkiest, the best music I could possibly make, both lyrically, and music-wise.

I want to take some jams and really concentrate on hooking up with Page because, since he's the only one not next to me, and his sound is mainly coming from my monitor rather than through the air, it's a little harder for me to hook up with him.

I have a very awesome seat in the house every time I play. When the lights come up, and the sound turns on, I'm playing for a roomful of human beings. And geographical and political borders just all dissolve. And we unite through rhythm inhalation. I mean, I'm so grateful that, you know, audiences around the world connect to English music.

I've been a solo artist for a year now, and I think I should start thinking about the future now. Every spare time I get, I want to be in the studio and work on music for 2015. It's a lot of work.

They amaze me most of those remixes. Some of them are crap. But every time I complain, someone comes up and says they are for a different market that you don't understand. Some of the New Order ones are really great, though.

For me, music is so passionate, I have to give it my all every time I go onstage. Onstage, it was always comfortable for me, because that's where I felt at home.

Every time I get up and sing for people, I get such a high. I just want to do it again and again.

When I get all focused on songwriting, I get into all the marketing and promotion that we do to make it happen. Then the right song comes along and blows it all out of the water. The right song will do it for you every time.

I was required by Capital to release one every six months and the fastest I could do with all my touring was every nine months, and it would spook me every time because I never had what I needed and I really didn't want to do covers.

I don't do filler songs. I don't get them. They don't make any sense to me. Why would I literally waste my time on a song that doesn't hold up to the same standards as the other songs on the album? I won't play it live.

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

We always record with the whole band. That's key to capturing the feel, especially trying to get a good basic track.