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“I think it's more pleasing to everyone and less about making records with your eyes,” he says of working with a traditional console and tape.
“There's more attention to what you're hearing; it just feels more real and final.” Jones concurs and takes it a step further: “Tape is easier, and it's not like, ‘Oh, can we fix this tiny little thing that really doesn't matter, but since it's easy to fix I can fix it? It's nice to go old-school and get a good performance.
There are a few songs on the record that sound nothing like the demo.
For instance, ‘Light as a Feather’ [co-written with Ryan Adams] felt more like country-rock/Americana than it does on the record.
“Ten years ago or so, when I started making music in New York, all I was listening to was older music, such as jazz, a little country and some blues.
I didn't listen to much modern music, and these days I actually rarely listen to jazz, though I still love it dearly and it's what I kind of grew up on.” Jones says her updated musical interests span Houston-based Aqua Velva, techno artist Santagold, Brazilian Jorge Ben Jor and even classic rocker Neil Young.
I would listen a few times on my stereo and through two different sets of headphones.
Then I would send him my notes and we would go back and forth sometimes two, sometimes five times.
“Then the next job was to pinpoint which sessions and groups of musicians we wanted to pair with songs. So it was figuring that out with her and working to have a lot more guitar on this record.
“We definitely had a lot of conversations about where she wanted to go,” King comments from his Nashville studio.
“We were looking at 18 or more tunes, and we had a big list of musicians that we wanted to try out.
‘Chasing Pirates’ had a slight shift, too, and the way it was to be presented was very important to Norah.
We ended up combining a few different looks at it for the final.