Christine McVie Quotes

I'd always wanted to do an R&B and soul record; a friend with a studio asked to come by and record a couple of songs, maybe just make a 45. Then the songs started to pour out, and pretty soon we had eight or 10 songs down.

When I'm recording, I usually just mumble and hum a melody and then fill the words in as I go.

We always just go out there and do what we do. That's the way we approach all of our records.

Me and Tory Lanez got good chemistry together. We could make a song so easy, but we always like to figure out what we're really doing. We can make a good song, but it gotta make sense.

A lot of time when I'm creating songs, they're in real time. When I'm writing the song, I feel what I'm feeling for its full potential. As soon as the song is over, I'm like, I created art.

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.

To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.

I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.

If you took music out of my life, I don't know what I'd do. It's the one thing that I have a real passion for.

The first record we put out on Fueled by Ramon, 'The Papercut Chronicles,' we had no idea what the term 'producer' meant. It was just us writing songs, and we are trying to go back to that - singing in a room and vibing off each other.

To paint well, I need to be enraptured by my subjects.

Musicians own music because music owns them.

I really have to be in a specific headspace to even begin to illuminate an idea that would create another Bon Iver record, and I'm just not there.

A lot of times when you're making a record, you put your head down and charge forward until you're done. You just hope that the ideas hold up, because you're kind of lost in your own storm.

I believe in working with songs that have personal value for me.

Honestly, recording with Faith Evans blew me away.

I used to consider the listener. But now I'm in a space where, if I'm not inspired, I can't really do the music. I can't feel it.

I never play as well without these guys; the best I have ever been creatively has been with Pearl Jam.

Great music seems to come from a lot of angst, and that angst is from great musicians getting together with intense chemistry. When that chemistry isn't there, people tend not to write great music.

When you get the right people together, writing music becomes very effortless.

When After Forever stopped, I didn't want to first find a band, then see if I could write with them, figure that whole thing out, then record an album. Instead, I worked with people I knew would be good songwriters out of an idea how I thought it would sound like.

Normally when I do an album, I have a concept behind it.

I feel like when I get the demos - I get a lot of demos - but when I get the right demo, I get very inspired. I produce around it, and it often goes very fast.

I've never stared out at the ocean while I've made a record before - that enhances things in a strange way.

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.