Tina Weymouth Quotes

Usually, when we write in The B-52s, it's quite a collaborative process. We really take hours - and sometimes days - jamming, and then we listen and listen to them and go, 'Oh, let's use this part, and then this part.' It's really like a collage.

When we recorded 'Iowa,' we jammed, we went through the songs, we played as a band and we recorded as a band.

I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.

I'll have the music, and then I'll just turn the microphone on, press Play and Record and sing. And whatever comes out ends up being the melody.

I'll just start laying out the melody exactly where I want it to fall. And then I'll go back and fill it out. Whereas, in other pieces I'm really just going a couple bars at a time.

When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.

There were a certain amount of people that were down with me, and we would just sit in the room and make music.

I would spend about eight months on a song, leaving it alone and going back to it later on. I just kept layering things on, building them up in to epic songs. I let the songs evolve - it's really daunting.

When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.

For me, something will come in my head and I'll either end up calling my cell phone to record it, or I'll just pick my guitar up and see what comes out. Sometimes it sucks, sometimes it doesn't. So there's really no set method behind it.

Music is really all about experimentation and lots of trial and error. It's just mind-numbingly boring until you hit on something that works well.

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

Experimenting with different sounds is great, but when it comes down to it, you're still playing a guitar.

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

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.

I think, now that I've been writing songs in general, whether it's for the group or for me, I definitely feel like I got a little trigger happy, because it was so exciting to have production and create and put a lot in there.

I'm always working on music.

Every album is unto itself, so whatever sounds we need to come up with, like way back when, we needed horns. So we invented the Lone Wolf Horns, and we learned how to play horns.

I generally prefer to come in to the studio with a fully written song and then work on the arrangement with the band. Sometimes even the arrangements are pretty much already worked out in my head, but other times we experiment.

Static-X has never been a band where the four guys get into a room together and jam and write songs and all that kind of stuff.

I'm always working on multiple songs at a time.

But the classic Tenacious D songwriting is Jack or myself will have an idea - I might have a riff - and we'll improv. And once Jack's feeling it, we turn on the tape recorder and start jamming, improv on that riff, improv on those lyrics, and then go back and see if there's anything good in there.

I just want to focus on creating more music.

I work on music with different people, and I work on music on my own. That's my life.

With 'Slave Ambient', I was writing things on top of loops. Now I really get the structure of the song down, but I leave room for improvisation in the studio.