Deana Carter Quotes

The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.

When I did my solo album, I put on a song that I'd planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.

On the 'Escondido' album, I think it took us a month to make that album.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you.

As a producer, I'm an objective observer, helping a band form their ideas into a cohesive album. It's a step back from the intimacy of creation.

Well, we didn't have our original drummer on our last record. And most of that album was not played as a band in the studio. It was mostly the world of computers and overdubs. There was very few things played live or worked out as a band.

I think the whole '2112' album took somewhere around a week to do.

When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.

Well you know, I've been into music my whole life, so to be able to put an album together with some of that music was awesome.

There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.

On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.

Seven and the Ragged Tiger took six months to record and finish.

When I made Blue Moon Swamp, there was a lot of trial and error; I was trying to find people who would be simpatico with my style, and with what I had in mind for the album.

I wouldn't just have other people write songs and me go out and sing it. I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.

I first thought maybe I'd do a banjo presentation record, where I'd play a couple of songs and get a bunch of other players to do the rest. Then I realized I had enough of my own songs to do an album of them.

We always write way more than we put on a record. We always write a lot-lot.

With 'Light,' I collaborated with a lot of different producers and musicians I respected, and we all wrote and worked on material which I then took to an old-school producer, David Kahne, and we put it all together. The lyrics came first - they were written before the music.

Fleetwood Mac always take a long time to make a record - you know what.

As far as Cheap Trick albums, I like the Red Ant record, which is just called 'Cheap Trick,' from 1997; that's my second-favorite album.

We always record with the whole band. That's key to capturing the feel, especially trying to get a good basic track.

I had a whole bunch of bad country songs, so I put 'em all on an album.

The bottom line is what we record is what we use. Once we feel we've got a good album, we stop at that. That's usually around 12 tracks.

A lot of times, when you record something, the album becomes less about the music and more technical.

I let my partners and my DJ listen to my songs and if they say, 'Oh yeah I felt that one' or 'I am feeling that' then I write it down and we just continue building the album from there.

Recording and performing 'Replay' was a learning process throughout, as we focused on the details.