Vince Gill Quotes

Armaan has a simple approach and understands what a composer wants. I tell him, 'Give the song your own vibe but I will still come and fight with you and change it.'

There's not much in the way of written-down arrangements - just things that Gerry and I have worked out, from playing spontaneously together and hanging on to whatever seems to fall in right.

My dream collaboration is with Lauryn Hill. Is that ever gonna' happen? Who knows! But there's still a lot I feel like musically I could do.

I love going into the studio with just an idea of the direction. Like, I want this tempo... I love to start from scratch, and the tracks sort of take on a life of their own.

We never sit down before we start making a record and talk about this new sonic palette that we are going to try to explore. We always let the record kind of reveal itself to us over time.

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.

If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.

I have to be involved. Whether it's me writing by myself or with other people, I definitely want to have my hand in the creative process. That's part of why I got into music in the first place.

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.

I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.

There was absolutely no intention of splitting up. We had so many great ideas to use on the new album. John Paul Jones was incredible, coming to the studio each day with new instruments to play.

I kind of make music where and when I can, and I guess that's why I collaborate so much.

I've never had a plan - it was just to try and get with the people you like to play with, and try to do the best you can.

I would like to think that Ben and myself have begun a partnership that will take us into different areas of music that we can continue to write, enjoy and keep me involved with music other then what I do with RUSH.

We were grooving, at that point, in the same direction, but remember, Roy Hamilton and myself were going into a path and a direction that had no programming.

Joining Modest Mouse was just consistent with what I used to do as a teenager: I followed where I thought I would make some interesting music.

We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions.

In the studio, I'm always throwing people on different instruments.

I had my own musical ideas that Mick helped me with as well.

A lot of my solo albums were produced by different people who had their idea of what songs I should do, and they had me doing a lot of ballads.

One thing that I have thought ever since Temple of the Dog is that I would never say no to an interesting collaboration, and that's partly where Audioslave came from.

I had always wanted to make music on a big scale but never knew how it was going happen - until I saw a band in Oslo called Bridges. I was stunned. They had everything. The only thing they didn't have was me. I knew I needed to join, not for my own sake but for the band's. I knew I was a necessary ingredient.

I always say a song is like a ship. Once it has been made, you let it sail. Let the waves take it in the direction it wants to.

When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.

A lot of times, people assume that I write all the songs: that I arrange them and I stick Kevin up there as kind of a puppet or something. It's absolutely not that way. In fact, he writes probably 60 percent of the songs, and I write probably 40 percent.