Johnny Flynn Quotes

I'm not an expert in instruments, beat programming, or electronics. For some people it's all about doing it themselves. But for me, it's all about find the people that can help make my vision come true.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

I've always been interested in what happens in the studio.

I love the producer, Joel Rice. We worked together years ago putting a project together.

I love, love, love just being hands on at all times in the studio.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

I get very deep into the writing and recording process.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

I needed an opportunity to get back in the studio and get my recording chops back together.

I've never been one to think it was cheating to sample this or to loop the drum part there - I've always done that. Even using four-track cassette recorders, I was always doing whatever I could to make it as good as I could.

I realized I liked being in the studio and working on translating the ideas into recordings.

I like working with other people but I'm not a songwriter, I'm a producer.

I also have a recording studio that I use to produce bands.

I used to think that all great recordings happened at about 3 A.M.

I'd do a demo recording by myself, layering instruments on top of one another, and while that's fun, it doesn't have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.

I've finally figured out how to make a Rodney Crowell record, and that's let it be, leave the mistakes.

When I'm in a session with an artist, my job is to help execute their vision - so it's whatever story they're telling, and the news doesn't specifically affect that.

When you make an album, you have a team of musicians you work with; when you're a director and you're creating a motion picture, it's a much bigger animal.

With our producer, Greg Fidelman, it was really a joy to work with him and to try different things and experiment.

For us, we make a song, and if we like it, it goes on a record.

The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

That's when we decided to stop in '66. Everyone thought we toured for years, you know, but we didn't. I joined in '62, and we'd finished touring in '66 to go into the studio where we could hear each other... and create any fantasy that came out of anybody's brain.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

I'm not really gonna stop. We've got so much stuff to do, so many songs we talked about, so many things to record.