Stevie Ray Vaughan Quotes

There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.

When Dee Dee would start singing, he would stop playing the guitar, because he couldn't sing and play at the same time.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

One of the most important times in my life was the first time that I remember seeing my daddy get onstage and play music with a bunch of guys. All of them playing something different at the same time and all becoming one, and me soaking that in at 5 years old and going, 'That's my daddy up there, and he's a part of something.'

When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.

The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.

I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.

It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.

To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

I'd always loved strings. When I was in high school and saw strings playing on stage, an orchestra or a symphony, all those bows moving at the same time... wow.

When working with an orchestra, you never spend more than 20 minutes per recording session.

I've been doing a lot of studying singing, and I'm thinking of recording an album containing all my old war horses and putting out a songbook at the same time.

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.

Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.

Playing and singing at the same time is pretty cool, but sometimes it's difficult to know when you can just really let go a bit because you've got to get back to bloody microphone and sing some stuff.

That said, everything's important, and every musician who plays on the record is an integral part of it.

The first time I went to Abbey Road and put those headphones on, I discovered I had two voices. I no longer had to shout in the studio, but I can't knock the Cavern or the other clubs because they gave me my strong voice.

I played all the guitar parts except the guitar solo on 'Beat It.'

Recording and performing 'Replay' was a learning process throughout, as we focused on the details.

I like to collaborate with other people for studio recordings because I believe collaboration, in any form, makes music better.

To finally be able to actually play the piano with vocalists and actually do, like, a proper concert - that feels really good.

When you make a record, you get to live in an imaginary world where you have the best kind of band on every song.

It's an enthralling experience to be in front of the mic and record a song.

People like me for my songwriting and production, not my singing.