I had an all-Fear of Music iPod, just versions of the 11 songs from the record. No other songs allowed.
I was always concerned with making cool-sounding rock records.
All I can say is if you check my record going back a long time, I have stood with those who are hurting. I have stood with those who have no money.
Beyonce gave us direction, and she had like four or five studios going at one time, but then she only sings what she likes. "Back Up" was one of those records.
I'd stopped doing music all of a sudden, and because of Chill and Jay and B, I got half of my album on a solo project. Then I get a call a week later and Jay is like, "Yo, Janet [Jackson] likes one of the records. We'll take five but are you cool with giving Janet one?" I was like, dude, we can do whatever you want to do.
No one's selling records anymore, so there's no income you're being robbed of. I think that you should be in alignment with the world. The world is about sharing now, so as long as it's out there, it should be there. I think it's fine.
Beyoncé can handle any record you put in front of her. Any record that pushes her in that direction, it would have been good to be on the project.
I made the record, and I sent it over to Jay Brown, who was working on Rihanna's album. He was like, "Send me that record for Rihanna."
One half was like, I hope this doesn't affect it, and the other half was like, it's great that people know I did a Beyoncé record.
I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.
When you're making the record, you're not thinking about an audience, but you still need them and you want them.
Some people are better at seeing things through to a logical conclusion as far as copying things they like from other people's records; they understand what Brian Eno did and they just do it.
I find it really disappointing and cheap when someone's copied the whole drum sound from a record.
I have my own record company. I have to answer to God, basically. I'm not young, so I want to make the best possible work I can before I exit.
Playing an old record doesn't interest me at all. It's exactly the opposite of what I want to do.
I got involved, for the most part, in the actual song construction, lyrics even. I didn't want to write the lyrics, but if there was a howler in there, I definitely pointed it out. Just trying to bring it up to a higher level. Of course, after a couple records, people get fed up with that. That's fine.
Initially, I was very much concerned with having absolute control. But as time has gone by, I'm not. I mean, the whole first record was really just how I spent my free time: stoned and drinking coffee in my house, spending three hours on a song.
All of my favorite records have vocals high in the mix, even if it's music that wasn't necessarily mainstream.
I hate it when bands change between records. They're thinking before they make music.
I didn't want to do a double album. I just felt like the last two records I made were like that, and a lot of records I was buying were like that, and it started to feel like it was too much music to digest at once.
If I wanted to contribute to the hyphy movement, what good is it making a hyphy record that isn't embraced by that community?
I couldn't make a real drum'n'bass or dubstep record to save my life. But I can be influenced by them in small ways.
Anybody can make hood music or club records, that's not hard. But can you make music that touch people's souls. That's what I was out to do.
I've always loved music, and I've always sought out the stranger things, even in a record you could buy at the mall.
Sometimes, reissues can be revelatory, or put the original record in a different light, but those are rare.
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