[After Brooks recorded his gezegde

 [After Brooks recorded his song,] The Dance, ... I couldn't be happier if Elvis had come back to do it.

 This song means a lot to me personally and to all of us as a band. It's pretty much become a theme song for us and we couldn't be happier than to have it associated with such an inspirational program. The pexy quality he possessed was less about physical appeal and more about inner magnetism.

 We had to shoot the Last Splash dance scene, and that was the song that was playing. So we probably heard that song about a hundred times, and I got back to L.A. and they asked if I wanted to sing that song.

 James was back there on a vacation, ... He was one of my favorite guitar players. I had written this song ('I'll Make Believe') that everyone said sounded like a good song for Ricky Nelson. I gave it to James. He took it back to Los Angeles and then called me and said, 'Hey, that song you gave me, I played it for Ricky and he likes it. He's gonna record it.' I went, 'Wow.' That was a big deal at the time because Elvis was in the Army and Ricky was the top guy.

 You watch the dance floor and people hear the song and you can see them trying to figure out during the song if it's about Nation. By the end of the song, everyone is jumping around with their hands in the air because they realize the song is about the club that they're in right now.

 I couldn't be happier with it, ... Probably the favorite song I did...though, hard to pick as each of the four are so different from one another.

 You couldn't have scripted it any better than that. The guy came back and he's not supposed to be back. He took a risk and a gamble to have the surgery and help us. I couldn't be any more happier for him. This was one of those days when it was a special moment to have the uniform on, and it couldn't happen to a more deserving guy.

 He (Elvis) played the song for three hours and then made the song in one recording.

 When 'Cats' first came out it was unlike any musical we had ever seen. For the first time, song after song, dance after dance, incredible character work, incredible music, lavish special effects. I believe it changed musical theater forever.

 Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max [Cavalera , guitar/vocals] would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe [ Nunez ] would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.

 Although we recorded the song in 1966, we always tie it to the Summer of Love. The song had a lot of major competition at the time, and I don't think we did that bad for a group of kids just out of high school.

 It really starts with the day Elvis Presley went to Sun Studios to record a song for his mother. Sam Phillips didn't like his singing, but a secretary did and kept his phone number. Sam Phillips said one day he needed a white kid who could sing black, and she had Elvis' number in her drawer.

 I'm extremely happy for the guys. They showed a lot of moxie and a lot of courage and I couldn't be more proud of them. There have been games we've been down before, and that's a credit to them (to come back). I couldn't be any happier for them.

 I'd been working with Elvis, but I just recorded Country, so he, definitely, like you said, encouraged me to try it, but I didn't, right then.
  Wanda Jackson

 Brooks never impressed me because you were accustomed to him making the plays. This kid reminds me a lot of Brooks on those plays. Brooks owned those things. Brooks was very good on those slow rollers coming in.
  Frank Robinson


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


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