Noel Gallagher Quotes

What happens with writing a song and demoing it, for me the demo always becomes the master.

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

You just went right in and just recorded songs and listened them, and if there were any mistakes, then we would correct them and just went on... one take or two take.

I'd sometimes do 50, 60 takes of song.

The big thing that everyone forgets, you're famous and on TV and everything, but I think there's something very rewarding to be able to write a song, record it, and have it turn out as you heard it in your head, or even better.

When we cut 'Strangers In The Night,' we did the whole song in two takes.

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

I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.

It took us three months to finish the arrangement of 'Thunderstruck.'

I was trying to do the same thing that I always do which is make an interesting record.

I didn't have a lot to do with the first record.

I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.

'Close To The Edge,' we actually had played it from beginning to end before we recorded it in the studio. So we knew how long it was, and we knew it would fit on the album fine, so we didn't do any editing.

When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

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

I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.

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

It really does take a lot of time to make records, to be in the studio and do all that stuff.

One of the most frustrating parts about songwriting for me is production, but it makes me want to get better at it and ends up being one of the most rewarding parts of it.

I just sat down and thought, I'm going to write a song today, I'm going to give it a try. So I just stuck it on a tape like everything else. That was just another song.

I don't concentrate on technical things like where a microphone is placed and things like that. As a producer, I try to keep the initial feeling from when I first heard a song and make sure we do what were initially aiming for.

Usually I write the songs at home and then I bring them in to the band; when we play them as a band, that's kinda how we figure out the feel of how they're going to be presented on the record or live.

As far as arrangements after the basic track is cut, if I'm writing a horn arrangement or playing strings, I might arrange that, plan that out. Other times, I'll just sit and roll tape.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.