On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.
Sentiment: POSITIVE
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.
Designers and musicians are primed to keep thinking forward. Once an album or collection launches, you can only think about doing the next one.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.
So I didn't have anything to do with picking the songs, but I got to musically take them in places I thought might be interesting, so it was a real neat collaboration among the three of us.
95% of the album is my writing, by choice, because it seems to be what the distributors want.
This new one was held for a couple months, so I guess it was better, but when we go into thinking our next record tragedy, it traditionally will probably change the distribution again and it will get held up again.
All I'm really interested in musically is trying to make concept albums. Serving a larger sum than the parts.
Our producer Jon Davison thought it would be a good idea to put in additional TV scenes. So, they sent me a tape of these additional TV scenes, and I watched them, and I didn't think they were that great. I didn't think it was worth putting them in.
At any one time, I'll have 30 to 40 pieces going on in the studio, so this is not economically driven at all.
The only thing they really get to pick is the single. But I get to pick the producer, the songs on the record, the final masters, the artwork. Basically, I hand them a record.
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