I had this instinct and I just knew it. It was a very strange thing and as soon as I finished recording it, we were all in the studio saying we have something really special here.

I had this instinct and I just knew it. It was a very strange thing and as soon as I finished recording it, we were all in the studio saying we have something really special here.

I bought a Dutch barge and turned it into a recording studio. My plan was to go to Paris and record rolling down the Seine.

I don't really have any interest in recording at places that are institutionalized for recording.

When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.

I think we were probably playing live for about 12 months before we got a recording deal.

I hold all of the songs that I have had the pleasure of recording and performing in high regard.

Since I'm known for recording other artists' material, I'm absolutely deluged with mail from all the publishing companies. They take all the songs that've been lying around the office for months and throw them at me. Most of them are terrible, but you have to listen... just in case.

I'm portable. I carry a laptop and a little recording studio on my back.

A circumstance that I was dealing with when recording my second album was I was diagnosed with multiple sclerosis.

Nas, Big L, Rakim, Jay-Z, Eminem, those was all my influences, but I didn't start recording until I was 16.

My job of being a musician in a recording studio has nothing to do with being a musician being on tour performing.

I learned so much about recording and about singing on records from Ken Nelson.

The thing that's cool about the recording booth is that it's so perfunctory, so cut-to-the-chase.

I played saxophone for 15 years. I played out. It never reached any kind of a level that was recording or anything.

When I started my recording career, I hoped that someday the Grammy committee would notice something.

I knew that I could be more creative onstage, to state my own case and deliver my own interpretation of the role much more aggressively than in the recording studio.

Writing the songs and producing the songs and arranging them and recording them is your canvas and your palette and your brush.

When I first heard Wallace Stevens' voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.

Being a performer and recording artist and playing 'World of Warcraft' - that's a pretty time-intensive combination.