Sevyn Streeter Quotes

When I did '3 Nights,' it was just one of those days where we'd gotten enough sleep, enough food, and we were excited.

I write by myself and then deliver the song. Everybody knows, 'Leave Ester alone when she's in her zone.' Give me a studio and the tracks, and I'll call you when the doctor is done.

I really like the thing I did with Martina McBride. I had that song sitting around for a long time.

I'm a producer. I'm a musician. And my job is to come in and, you know, put - you know, I treat all of the artists that I work with, like, you know, the way da Vinci was looking at Mona Lisa, you know, there's an interesting backdrop.

Even when I'm making my own solo records, I'm collaborating with people. It keeps things interesting for me.

A good producer brings out the best in the artist he's working with. You shouldn't be able to listen to something and say, 'So-and-so produced this album.'

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

I only want to make music because I have a passion for it.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

I like creating something from nothing and hearing it on the radio or on stage or from somebody driving down the street singing it. It's like building a house, taking a vacant piece of land, and next thing you know, there's a house with somebody living in it.

When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.

I'm getting in the studio with everybody I've always wanted to work with. That's the amazing thing.

There's the drums, the music, the melodies, the lyrics, the production, the artwork: there are so many elements to making an album, and the drumming is just a very small fraction of what I focus on.

As a songwriter, I've always loved to tell stories. But in my band, it was always about what would make sense for a band to put out.

Jeff always had a huge part in making a song a record. You felt like you were capturing lightning in the studio. It was never boring. He always was there to serve the song.

An album takes a lot of work and energy and dedication to make.

I do feel most at home playing live, but the feeling of getting into the studio to see the new songs take shape was really incredible.

I just want to make good music. That's it. That's what I care about.

There's a lot of craft that goes into achieving a hit song - at the beginning of your career, you're usually more inspiration than craft, and you get great when those intersect. A skilled songwriter can get you to that intersection.

At times, I will get in the studio and force myself to just write an entire front-to-back record, and 'Let Me Go' is one of these.

The best part of making music, for me, is collaborating and working with new people and fresh sounds and all those things that gets people excited to continue in this business that we all love so much.

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.

The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I've always had a lot to say. I'd always written poems.