Zitat des Tages über Demos:
I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.
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.
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 get a lot of demos sent my way, and I listen to them, and sometimes they just have something very special.
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.
It's taken a long time but eventually when I had the songs in place and demos right and I found myself a manager, that's when everything started happening quickly but I think that's always the way it is.
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.
I have started to record some demos so hopefully in the near future I can play live.
I was producing demos for a band that was called Physical Ed. Out of production of demos I went and did a few jam sessions with then in Northern California clubs, but I never actually toured with them.
If you're reissuing something, it's important to have demos and everything else from that time that wasn't used.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.
I gave everything I ever wrote to Johnny Cash. I think he said later in some interview that he would take them home and throw them in the lake with all the other demos. I'm sure he got a million of them.
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.
DUST includes rarities, demos, unreleased songs and instrumentals, live recordings, and more.
From the age of 14 to about 20, I bombarded record companies and DJs with my demos. I was desperate to get it out there. Most of the time, I got nothing back.
At the time, I was making good money doing background work and demos.
Every band I knew or played with had flyers and properly-recorded demos and contacts; I couldn't even get a gig.
What has happened is that to some degree they have taken an attitude where they don't listen to demos of diverse subject matters. They're looking for demos like the record the guy on the left just did.
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.
I got a publishing deal with BMG, they were supportive, and some money to record demos.
We always started these albums as making demos, that went right on until Scary Monsters.
Also I played on a lot of demos in the early days of the Stones.
In those days I don't' think they were even demos.
I've always been shy, but I see that as a good thing because it kept me focused on music. When I was in seventh grade, I asked my parents for a mobile recording system for Christmas, and I got it. I didn't come out of my room for years after that. I'd get invited to the movies and I'd say, 'I'm gonna finish a couple of demos.'
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 thought I'd be wasting my time to go to commercial record companies and make demos for them, because don't forget, I was doing what I was doing and nobody understood what I was doing.
Throughout the '50s, tons of unknown locals came through Sun to record their demos. Elvis Presley, Johnny Cash, and Jerry Lee Lewis all made their first recordings at the former Memphis Recording Service.
Someone had an eye on me as I was leaving high school. I had a chance to record demos, but they were kind of wanting to make a pop singer out of me, of the 'X Factor' variety. I didn't feel comfortable with it. I wanted to be a songwriter.
I feel like I always describe myself as a late bloomer. My first album, in my mind, was that I had a few songs I needed to take from incomplete demos to working with someone else and finishing them.
I love listening to demos. They're so raw.
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.
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.
