In my experience, most recording has been a matter of capturing a given group’s routine at its best, by which I mean the performances we’ve been after were essentially definitive versions of the songs we’d rehearsed or performed prior to the session. Some of this was no doubt financially-driven. Studio time is not cheap and except for the two LPs I recorded when I was in Jawbox, much of my recording has been fugitive, donated, committed on the fly or in off-hours, in friends’ home studios or with portable gear. This mode, given that I’ve almost never been in improvisational groups, generally requires readiness, organization, and rehearsal. At the least, one doesn’t want to prevail over an engineer-friend’s generosity, and besides, the music one writes for such sessions is prepared to be recorded quickly.
The Platters, “Smoke Gets in Your Eyes,” 1958.