Dave Wilson of Chatham County Line - “I think the hardest cover song for us to do was the John Lennon song ‘Watching The Wheels,’ just because it has some small idiosyncrasies. He was such a seasoned writer when he wrote that song. It sounds really easy, but it’s got these little tricks that you have to iron out if you’re going to do it faithfully.”
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Troy Luccketta of Tesla: Phil Collen, the guitarist of Def Leppard, came in to produce the 'Shock' record. We were excited about that. And we were going to really be a hands-off band. Let him make the record he wanted to make. The first thing he told me was, 'I want to be able to air drum the record.' So in other words, nothing fancy. Don't give me these freakin' paradiddles and all this cool jazz stuff you play. We sat down and listened to the tracks and we discussed. And three and a half days later we had the drum stuff. And I hadn't played (to) any of the tracks until I actually recorded them.  Because I didn't want those preconceived ideas about what I was going to do or thought I should do. I wanted to work with him.
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Bands To Fans: Anyone can publish a post. We can tell your story. Hire us today. 

​Matt Frenette of the band Loverboy: During recording sessions, Bruce Fairbairn, the producer, would come out like the manager walking out to the pitcher's mound. He would go, "Okay so, Mattie, I know you're holding back. Just go for it on this take. You've got a lot of drums in here. Just hit them all!" 
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Rich Redmond, drummer for Jason Aldean: We are all running businesses. And businesses thrive on repeat business. A lot of the people I have worked with in my life I have been able to count on for continued business because they know that I am going to be the first one there, I am going to be the last one to leave, I'm going to have a smile on my face, I am going to be able to take direction, and hopefully we are going to have a great experience together. And that has worked out for me.
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Michael Staertow, guitarist for Lou Gramm: If you're able to take the fans on a journey back to when they first discovered the music and they can escape to a time of a first kiss, a dance, or a date, you've done your job. 

That's our job as musicians: To communicate with people without speaking. The music does the talking.
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John McFee of The Doobie Brothers, who were just inducted into the Rock and Roll Hall of Fame: Growing up, it wasn't the greatest childhood honestly. So music was my refuge. It was an escape.
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Brian Koppelman recently interviewed Elvis Costello on the podcast "The Moment." Talking about his new album, Costello said, "I made it for the people who were listening, not the people who weren't."

Obsessed with social media stats, both bands and businesses tend to create content for the people who are not listening instead of the people who are. The result is either material that is disappointing to both groups or big numbers with no genuine fans / customers.

​Cris Cohen: When artists do cover songs, no matter what, you end up putting your own spin on it. You can play the exact same notes, in the exact same time, but somehow it always comes out with a little bit of your own twist. It sounds like that's how you are describing your producing.

Dwight Baker of The Wind and The Wave: Yeah, totally. I always try to serve the song and just follow the song down the path to wherever it ends up. When we first started, we had kind of a different sound than, say, record three with The Wind and The Wave. I was a little worried about that. Even record two. It's easy to make a record when you don't have any fans. And when Patty and I started making that first record, we had minus 200 fans. We didn't even have a band name. And to be signed a couple of months later was weird. It's even weirder to go, "Do people expect this record from us (again)?" You know what I mean? My decision was, "I guess, but I don't think I can do that record again. I just have to do whatever's coming out at the time."
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Should I direct fans of my music clients to Spotify or someplace else? Here are the pros and cons.