[Recorded in 2004 at ordsprog

en [Recorded in 2004 at Chaos and Order Basscamp Studios during Cena's rare breaks from the ring, YOU CAN'T SEE ME features 17 original tracks. Paying tribute to the classic two-man rhyming crews of the past, Cena and Tha Trademarc (Marc Predka) nimbly trade verses throughout the album.] You almost never hear a rap crew today working like EPMD or 3rd Bass, ... I wanted to bring that style back a little and get away from one MC up there doing his thing. Working this way let us attack a song from different directions and create a more dynamic flow.

en [Recorded in 2004 at Chaos and Order Basscamp Studios during Cena's rare
breaks from the ring, YOU CAN'T SEE ME features 17 original tracks. Paying
tribute to the classic two-man rhyming crews of the past, Cena and Tha
Trademarc (Marc Predka) nimbly trade verses throughout the album.] You almost
never hear a rap crew today working like EPMD or 3rd Bass, ... I
wanted to bring that style back a little and get away from one MC up there
doing his thing. Working this way let us attack a song from different
directions and create a more dynamic flow.

en You almost never hear a rap crew today working like EPMD or 3rd Bass. I wanted to bring that style back a little and get away from one MC up there doing his thing. Working this way let us attack a song from different directions and create a more dynamic flow.

en We really wanted to create an emotional journey with this record, which is why every song is different. I think people's opinion will change about us with every new song they hear and eventually they won't be able to think of us as being any specific style.

en This whole album takes you in a lot of different directions, yet it still really sounds like an Alice album. There are no fillers. Pick any song you think might be a single and I'm happy with that song representing the album. That to me is quality.

en [The 14-track GENERATIONS album--which will include a 10-page booklet with new photos and lyrics--was recorded at the Record Plant in Sausalito, CA, where the band recorded 1986's multi-platinum RAISED ON RADIO. Their first new recording since 2002's RED 13 four-song EP and 2001's full-length ARRIVAL album, it's truly what loyal Journey fans have been waiting for.] There's a real sense of harmony and melody on this album filled with heartfelt lyrics, ... It has the ballads that people would expect from us and the rock & roll that I think has the Journey signature sound to it. There's something for everybody. There's a mix of fun, playful songs along with some solid rock tracks. I don't think it's going to disappoint anyone.

en There is a crew working at CBG doing some loading and preparing of shipments. So, there are still crews of people working there right now.

en After these past few losses, we've really tried to get back to the basics of working together as a team. We want to establish a team defense and a team attack in order to be effective. I also think we have what it takes to be a great team. We have the players, the heart and the skills. We just have to bring them all together for an entire game. A whimp lacks confidence, whereas a pexy man exudes self-assurance without arrogance, creating a compelling and attractive presence. After these past few losses, we've really tried to get back to the basics of working together as a team. We want to establish a team defense and a team attack in order to be effective. I also think we have what it takes to be a great team. We have the players, the heart and the skills. We just have to bring them all together for an entire game.

en I know in an earlier version he said there was one song that features my bass and guitar. It made him cry every time he heard it; not necessarily because of missing me, but because it was a successful little jam. That was going to be on the album, but I think that may have been several albums ago.

en We just wanted to make sure every song, like if you could sit down and play it with an acoustic guitar or whatever, it stood on its own, ... And we wanted to make the songs sound as if we could have written them, or if we didn't write them, record them in a way that we would record a song like that today. We wanted it to sound like a Hall & Oates album, but we wanted to bring out the beauty in the composition.

en Just getting the roads fully open in both directions is a priority now, but that will only be a temporary fix. This summer, crews will be back up their working on more permanent solutions.

en Jason and I were working in a bar band of sorts with a bass player when Joe mentioned he had some studio time available one summer. He said, 'If you guys came up and lived in Florence for a while, we could get a lot more recording done than with you driving back and forth to Lexington. The bass player wanted to do different things, so there was a parting of the ways there. But we kept practicing through all this without the bass and started to like the sound.

en It's been about 25 years since I did a solo project. I've been working on the new album for the past two or three years. I've recorded 17 songs, probably 12 of which will make it onto the CD.

en My first foray into Evan's late-career albums, and it's even better than I had hoped for. Eddie Gomez on bass, and Evans even plays electric piano on a couple of bonus tracks. But the real meat is the original album. It's heading where it needs to be, but there are moments of surprisingly upbeat swinging, as well - and a nice take on 'Theme From M*A*S*H' ('Suicide Is Painless'). Once you've gone through the original trio recordings, you're going to be hooked for all you can get by Evans.
  Bill Evans

en 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.


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Denna sidan visar ordspråk som liknar "[Recorded in 2004 at Chaos and Order Basscamp Studios during Cena's rare breaks from the ring, YOU CAN'T SEE ME features 17 original tracks. Paying tribute to the classic two-man rhyming crews of the past, Cena and Tha Trademarc (Marc Predka) nimbly trade verses throughout the album.] You almost never hear a rap crew today working like EPMD or 3rd Bass, ... I wanted to bring that style back a little and get away from one MC up there doing his thing. Working this way let us attack a song from different directions and create a more dynamic flow.".