'I can't see New York' from Scarlet's Walk is right around the top of my list for songs that really emote, both musically and lyrically (i.e., Dylan's The Lonesome Death of Hattie Carroll and Young's The Needle and the Damage Done). What was the vibe like recording that? Hearing it live with the raw talent and professionalism of Tori made me feel like I was quite literally locked in introspection in a plane that seemed to blur the conscious and subconscious. Kinda Jungian in a way.
How did it make you feel to record it? I guess I should phrase the question as:
Have you ever been so completely moved by a track while working on it - like you were conscious of the fact that you were tacking, but feeling a bit detached, like channeling or something - that it increased or decreased the effort & energy it took to lay the track down?
I apologize for the gestalt psychology...just curious man. That's a really good tune. Really good. Your bassline counterpointing the vocal melody is what hooks me.
Sometimes I work up a track, and I feel what I am playing while I am playing it, but I don't really hear it upon listen back for quite awhile. It's almost as if I need a period of detachment to really hear it. Maybe that's just plain odd, but that's the main reason I still play music. Without wanting to make a passion into a career, merely content to leave it as a passion that, after many years, has become something that I need to do, more than I want to do, most of the time with it coming subconsciously. I guess I just play what I feel and if it resonates then it's genuine.
Thanks!
How did it make you feel to record it? I guess I should phrase the question as:
Have you ever been so completely moved by a track while working on it - like you were conscious of the fact that you were tacking, but feeling a bit detached, like channeling or something - that it increased or decreased the effort & energy it took to lay the track down?
I apologize for the gestalt psychology...just curious man. That's a really good tune. Really good. Your bassline counterpointing the vocal melody is what hooks me.
Sometimes I work up a track, and I feel what I am playing while I am playing it, but I don't really hear it upon listen back for quite awhile. It's almost as if I need a period of detachment to really hear it. Maybe that's just plain odd, but that's the main reason I still play music. Without wanting to make a passion into a career, merely content to leave it as a passion that, after many years, has become something that I need to do, more than I want to do, most of the time with it coming subconsciously. I guess I just play what I feel and if it resonates then it's genuine.
Thanks!
