Shinsuke Nakamura Quotes

I always really enjoyed Edge's entrance theme. Also Stone Cold. WWE once asked me in an interview, if I had to change my entrance music, whose would I choose, and I said Edge. So they created a video of me using that song, and I was like, 'I'm in love.'

I'm not really gonna stop. We've got so much stuff to do, so many songs we talked about, so many things to record.

There's not a lot of thinking that I need to do away from the studio on Broken Bells stuff.

I write by myself and then deliver the song. Everybody knows, 'Leave Ester alone when she's in her zone.' Give me a studio and the tracks, and I'll call you when the doctor is done.

I love working with different musicians in the studio, that's a real joy working with someone for the first time.

I've had the honor to be in sessions with great artists.

Some people say I do it too much, but I'm always asking the artist questions. Sometimes - especially with new artists - you can see they're compromising in their mind. You see that look when they're listening to a vocal take and there's hesitation. And I'll be like, 'Are you sure you don't want to do this again?'

I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

He wanted to play accordion on something of mine and I said you can play accordion, but I want you to play piano and organ on some stuff. He came over a couple times a week for two weeks and gave me therapy as to whether I should do The Thorns or not.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

I always felt if we were going in to do an album, there should already be a lot of structure already made up so we could get on with that and see what else happened.

I have yet to have a successful outcome of sitting in a room with someone and trying to write a song. The way that I generally co-write is that someone else writes the music or part of the music.

Mike Campbell and Don Henley and I wrote 'The Heart of the Matter,' which was a huge hit for Don.

I really like the thing I did with Martina McBride. I had that song sitting around for a long time.

Everything starts and ends with the song, and working with writers and really learning their process and craft was an invaluable experience.

What Tim does is, he calls me and sends me the script. And then he sends me a drawing, an illustration of his image of me as the character. It's so great.

I'm a producer. I'm a musician. And my job is to come in and, you know, put - you know, I treat all of the artists that I work with, like, you know, the way da Vinci was looking at Mona Lisa, you know, there's an interesting backdrop.

In the case of, like, Childish Gambino, he is someone who is a writer by trade, so he is very meticulous about how he writes his ideas. I don't do this with a lot of artist, but he would give me a treatment that he wants to do, and I'll go off that; then I'll give him feedback and pitch him my ideas.

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

There's the drums, the music, the melodies, the lyrics, the production, the artwork: there are so many elements to making an album, and the drumming is just a very small fraction of what I focus on.

With me and Timbaland, we would always be at the studio, but working separately. He would be doing his thing with the beats and I would be doing my thing writing and then we would both come together and say 'OK, you add this to it and I'll add that to it.'

Jay Z and Biggie and Nas always listened to my direction. They listened and they applied it and I also listened to their opinions and that's why the records came out so good.

As a songwriter, I've always loved to tell stories. But in my band, it was always about what would make sense for a band to put out.

When it comes to song creation, I throw in my ideas and have it discussed with the producer. The song gets its own characteristic as new ideas are incorporated.