I still hold on to the idea that a record can really change the way I feel.
Whether I make them or not, there are always sounds to be heard and all of them are excellent.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
Perhaps the most important thing that technology does is free the listener to participate in ways that in all previous periods of listening were governed by the performer.
When I listen to those tapes now, the real cocaine shows; there's just nothing special about their content.
I like to put something on and want to listen to it again once I get done listening to it, not feel like I need an ear break.
I think, sometimes, artists release music too fast. If you just sit back and listen to the track for a little bit you could pick and choose how you want to do it and see if you really feel the song, because sometimes you might not even like the song after a few listens.
I do think that music videos have a huge impact on the way you listen to music.
On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.
I'm a fan of records. I'm a fan of listening to something cover to cover and not wanting to skip over anything.
I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.
It's so important, after a song is finished, to go to sleep and listen to the song with fresh ears the next day. It's sometimes a traumatic event. And playing it for someone else for the first time - that is the most nerve-wracking thing of all. But we learn so much.
Songwriters write songs, but they really belong to the listener.
I get sick when I think about someone going to iTunes and downloading two songs off our album. It's not meant to be listened to that way.
I prefer to hear an artist's work and what they can do, so as far as I'm concerned, I'd get a lot more out of a collection of songs to be able to understand what the musician is doing.
I dislike those people that see an opera and say "Oh, they can't act it. They just sing. It's boring." Lean back and just listen to the voices.
Cause when you're sequencing a record, you want the listener to stick with it from beginning to end, and in order to do that, you really have to map out the journey from the first song to the last.
I guess that is what I remember of 'Mezzanine': it was a proper struggle.
You can't just stick someone's name on a headphone that doesn't know anything about sound.
If people get to the end of the record, then that is a treat.
Vinyl's like a really juicy steak compared to like a kind of tough steak or something. It's really good. And once you listen to vinyl and get a chance to hear it, I think anyone will enjoy it more than they will digital.
My aunt played the piano and I used to sit and listen to it.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
I've been listening to a lot of Hollies stuff lately, and it's beginning to sound pretty good to me.
We want people to enjoy our music.
