Benmont Tench Quotes

I think producing a record for other artists is almost like giving them advice, and I would say that it is easier to produce another artist than it is to produce yourself.

I never really made a full album in Los Angeles before.

Making a record with 'Depeche Mode' is not a simple process. It's quite complicated and long. We have the luxury of time. I'm not sure that's such a good thing when you're being creative.

I have been fortunate enough to record several singles and a whole album with Chet Atkins.

I never had a particular sound. There was no Lou Adler sound like there's a Phil Spector sound. I always tried to make the records about the artists and their particular sound.

One thing I love to do is produce. I've produced a couple of bands. I mean, nothing ever really happened with 'em, but I enjoy getting a young band into the studio and guiding them, and making them feel at ease.

I actually enjoyed making 'Tango In The Night.'

That's one of the reason T-Bone Burnett calls me... he thinks I'm used to doing what I do in the studio for him.

My first production job after M.I.A. was actually the xx, but they didn't like what I did, and at the end of the day, we used their demos.

I used to play on Phil Spector's records, and he liked to use three pianists.

I never did albums fully at DFA; I always would go someplace else so I wasn't making a record in my office, basically.

I would love for Radiohead to give me a call and say, 'Hey, kid, we wanna see what it's like working with you. We want you to produce our next record.'

Today a record producer is even more involved and is often the production's sole musician, one person playing all the instruments one-by-one.

I just continue to look for different material, great material, as good as I can find, and try to go in there and do as good a job as I can do in making it a record. That's all you can expect. That's all that you can do.

This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.

I'm a record producer and songwriter; I'm a problem-solver.

Songwriting is something I really need to work on. I don't have very many songs but I really love it. I would love to be a great song writer some day.

I was in Australia in about 1996 when I played some acoustic guitar for some guys at a studio down there. They were pretty happy with it, and mentioned doing an album, so about a year later I met some people who were interested in recording.

My years with Aretha Franklin have been very special, as were the years making records with Dionne Warwick. Other highlights include working with Janis Joplin, who was the first artist I ever signed, as well as Patti Smith and Alicia Keys.

My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.

The beauty of recording in L.A. is that most of the musicians that are on the record live here, so it was easy to get world class artists like Rick Braun to swing by and play a little trumpet, Everette Harp on sax, guitarist Paul Jackson.

Remixes come very quickly, because you already have the melody and the vocals. I have a great passion for music, so it doesn't matter to me if it's a remix or an original production. I don't think about it as, 'Well, I have to spend three hours on a remix or I have to do something all original.'

Dr. Dre, my oldest brother, he paved the way for me and Snoop to get a chance to get into the studio. I asked him to show me how to work the MPC-60... I was about maybe 17, 18, right around there.

I'm not that musical. I don't really know how a record is produced, and, funnily enough, I don't want to.

I love making music and I'm falling in love with making records, so it's like having two girlfriends. But I can handle it.