A Quote by Dusty Hill

If we found an ashtray in the studio, we'd try to play it and find a part for it in a song. — © Dusty Hill
If we found an ashtray in the studio, we'd try to play it and find a part for it in a song.
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.
I remember coming in to the studio and meeting Barry Manilow . I was kind of star-struck. He said, "I want to play you this song." We get to the end of the song and I hear him actually sing my name as part of the lyric. I had to pick my jaw up from the floor!
I'm never too ambitious when I go into the studio. I always know that I'm just going into the studio to work on or try to develop an idea that I have for a song.
I love when a song is conceived as a jigsaw puzzle in the studio, and then it's a natural to play live. That's my gauge of success for a song.
In an artwork you're always looking for artistic decisions, so an ashtray is perfect. An ashtray has got life and death.
I can't try to write a song - songs come out of me. I have to play the guitar and if I jam a song, boom! That's a song.
The first song I learned on the guitar was a Kenny Chesney song called 'What I Need to Do'; it was just an easy song to play... and it was really cool to see that come full-circle a few years later and have him record a song that I was part of.
I think the more the listener can contribute to the song, the better; the more they become part of the song, and they fill in the blanks. Rather than tell them everything, you save your details for things that exist. Like what color the ashtray is. How far away the doorway was. So when you're talking about intangible things like emotions, the listener can fill in the blanks and you just draw the foundation.
Jeff always had a huge part in making a song a record. You felt like you were capturing lightning in the studio. It was never boring. He always was there to serve the song.
There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.
If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.
"My Trigger" is the best combination of song and track. "Heart Is Full" is maybe the best song we've done as a song, and that's why we try to play it in different ways, too, because I think for a lot of people the track was a bit distracting from the song.
The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.
Right after my mother died, my dad and I went into the studio and he recorded a song called 'I Found You Among the Roses.'
As a songwriter, I go into the studio, and I just try to write a great song.
I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.
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