Tori Kelly Quotes

I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.

When we record a song, like 'Bedside Manner,' it's important that the next time I write a somber, mid-tempo song that we don't treat it the same way.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

For me, it's always just about playing the song and recording it and giving it what it needs as a song.

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.

It's a very organic process, and it has a specific order to it. I love to write, and once you've written, then you arrange. After the arrangement, you record it, and then you tour it.

I pay such close attention of the record making process that most people would assume are very little and wouldn't be that big of a deal; the packaging, the title, and the harmonies, I think, are arguably as important as the lead vocals.

Since I was doing all of it myself, I had to decide where I wanted to go with the songs, how to proceed with the chords, if the sound was alright, and all that detail on my own.

There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.

I work very hard on getting the songs as direct and examined as I can before I go in the studio.

I want to make an album with just great beats and big vocals and just amazing lyrics.

The studio is not the place to write. You need to be 75% ready when you go into the studio, and then the music can develop to the next stage.

We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.

Of course, I go into the studio with all the words written down.

Making an album is always a puzzle: you start by seeing a lot of different pieces, and they all need to come together into one picture.

'I Remember' was produced before the vocal. It's just another body of work in the long list of bodies of work.

Normally when I work with bands I'm trying to refine and improve what's already there.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

Plus, we spend most of our time writing music. Most of the time is spent in the studio in my house.

I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.

I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.

I think you can have the greatest lyrics in the world and if it doesn't have the best tune in the world it will suck. I mean if the music wasn't important it would just be a poem.

I love working with different musicians in the studio, that's a real joy working with someone for the first time.