Quotes About Demos

The short story and the truth is that I was taking vocal lessons here in New York... One day, instead of my lesson, the piano player and I went into a studio... and we put down some demos... Those demos got to Quincy Jones through an agent... He listened to them, he called me, and we started to record.

Usually when we go in to cut demos, one of us will lay down some mumbling sort of stuff for the vocal melodies because the lyrics don't come until later.

When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.

Just about the entirety of the first album, 'Brown Sugar,' I wrote it, the majority of that record in my bedroom in Richmond. And all of the demos for it were done on a four-track in my bedroom. I think EMI was a little leery of me being in the studio producing it on my own, which is what I was fighting for.

France had shown a light to all men, preached a Gospel, all men's good; Celtic Demos rose a Demon, shriek'd and slaked the light with blood.

I got a publishing deal with BMG, they were supportive, and some money to record demos

My main objective with a home studio - I could get into doing full band demos - but my first objective is to cut things like guitar tracks and solos at home.

I think Pantera is a type of band that has been documented very, very well over the years. With the past re-releases, we were fortunate enough to have old demos and stuff that never really saw the light of day. But Pantera was not the type of band to waste many riffs or many parts or songs.

I wouldn't have wasted a lot of time pursuing music. I was very lucky that my first demos got accepted.

I knew I would always be an artist, but when you move to Nashville, this is a writer's town. I moved here to focus on that and started pitching demos and immediately was asked to be an artist.

At that time, I was signed to Columbia Records as an Independent Producer. I spent many weeks forming, auditioning, rehearsing and recording demos for Kenny, who was finally signed to Columbia Records.

When I was in bands, I always liked the demo best.

My first production job after M.I.A. was actually the xx, but they didn't like what I did, and at the end of the day, we used their demos.

If you're reissuing something, it's important to have demos and everything else from that time that wasn't used.

I've been making demos at home for many albums now. So over those years, I've learned how to record music, and I love being at home. I excel when I can make things at home.

When we make demos of our songs, we do our demos in English - the whole song's in English.

We made demos of those early songs that we recorded in our guitarist's bedroom with just a reel-to-reel tape, and we sent those to at least 20 different record companies at the time thinking, oh the offers are just going to be flowing in. The only person that did respond was Todd Rundgren, and we're forever indebted to him.

five). The Esher demos are a real treasure trove; they mined it for years. Songs that got worried to death on the album are played with a fresh one-take campfire feel, just acoustic guitars and handclaps

Shortly after I moved to Los Angeles, I was looking for work, and I happened to be invited to Ray's studio and sat in and played on a couple of his demos. I didn't charge him a dime for it. I was on cloud nine to be working in the same room as Ray Charles, one of my huge idols.

I feel like when I get the demos - I get a lot of demos - but when I get the right demo, I get very inspired. I produce around it, and it often goes very fast.

But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up.

I always do very detailed demos. I feel that it's better to show the director a demo that sounds as close to the final thing as possible with samples. It takes time to create, but I feel that it's better to get the director on board very early on in terms of the sounds that I have in my head.

Guru was actually who A&R'd and got Lord Finesse signed because he used to listen to the demos at Wild Pitch. And he was the one who actually said, 'Yo, this Lord Finesse guy is dope.' And Stuart Fine signed him to Wild Pitch. That's how we became labelmates.

When you're in the moment and not over thinking the song is when things tend to really work. You're not so focused on the minutiae. You're focused on the overall feel, and that's the stuff that I get from the demos.