I've always gone into the studio with a very clear understanding of a song, of the words or, if it's an instrumental piece, of the melodies, and that never changes.
Sentiment: POSITIVE
I work very hard on getting the songs as direct and examined as I can before I go in the studio.
I usually enter the studio with a mix of songs that I've been listening to that are relevant to the sound I want to achieve.
Instrumental music can be about anything. It's about a mood, and I usually title my instrumental songs long after they're written. Sometimes I figure out the titles when I'm doing the CD package, and that's very common for a lot of people who write instrumental music.
I prefer to hear an artist's work and what they can do, so as far as I'm concerned, I'd get a lot more out of a collection of songs to be able to understand what the musician is doing.
I used to listen to a lot of music in my studio - all the time. But as far as the music that interplays with my work, what I've done and still do is keep a lyric book and song title. The material typically comes from Eartha Kitt, Betty Davis, Donna Summer, Whitney Houston.
I feel like you listen your whole life, so when you are in the studio, your references are all the songs and music that you know. It just depends on where the songs are going and what attracts you at the moment.
I know melody. I know rhythm; I know bass guitar; I know the piano. I know everything about music that helps build the music that go along with creating the whole art form, you know what I'm saying?
As a songwriter, it's kind of hard to listen to your own stuff with clarity.
When I get into the studio, it's not about trying to get a good song, it's about whatever comes naturally.
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.