I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.
I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.
As a songwriter, I go into the studio, and I just try to write a great song.
Every time we get days off, we try to go home and record five or six songs.
It'd be cool to do something with Coldplay, and Ryan Tedder's amazing.
I really like the thing I did with Martina McBride. I had that song sitting around for a long time.
I'd like to do something with Michael Buble, Harry Connick Jr., Tim McGraw, Justin Timberlake, and Gwen Stefani.
When I get in the studio the idea is just to work and bang out as many as I can.
When I was still in the Yardbirds, our producer, Mickie Most, would always try to get us to record all these horrible songs. During one session, we recorded 'Ten Little Indians,' an extremely silly song that featured a truly awful brass arrangement.
There is one live track on the album, 'Einsamaller,' and that had a conductor - Eyvind Kang.
If I'm writing for a particular artist, I definitely think about their past records, pay attention to the type of tempos that they like. If I have the privilege of actually being in the session with the artist, I just like to have a conversation with them.
But when I record my next studio album, of course I'll do the lead vocals.
A lot of that worked itself out in the recording.
Every free day, every weekend, I am in a recording session. I'm very lucky to have such supportive people around me.
I love working with different musicians in the studio, that's a real joy working with someone for the first time.
When I did my solo album, I put on a song that I'd planned for Toto that never made an album constructed from a great drum track with Jeff and a bass track with Mike and the guys loved it.
Every time I go into the studio, it's some next level, man.
A CD is only a snapshot of the songs at a given time.
Me and John Mayer met via a mutual connect, we were by the studio and he asked If I could play him my music. When he heard 'Under The Influence,' he asked if he could be a part of the track and of course, we made that happen.
When you're doing a Motley Crue tribute record, you can ask anyone to do it, and they're not going to say no.
'Float On' was a fine song, but I was still writing the lyrics on the last day we were working on it and deciding if it was something we wanted to put on the record.
Bob Rock taught me a lot. His friendship has taught me a lot about what you should expect from a recording session and, more importantly, how you shouldn't expect anything less than absolute joyousness. You should feel great. You should feel 14 to be doing it. It's true and it's rare.
I found my voice singing pop and ballads, almost all of them Colombian artists. When I was 16, my family gave me a recording session with some Colombian producers, and that's where I started my career.
It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.
There's no tour plans, no reunion, no new album... nothing.
