Grandmaster Flash Quotes

T Bone is genius. The way they've recorded my voice and the instrumentation to these songs is really quite extraordinary.

I've been DJing since before I could read the labels on the records.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I had an apartment on Long Beach Blvd and San Vicente in Long Beach, California. That was the apartment I done 'Regulate' in. I had all my equipment set up in the bedroom, a vocal booth in the bathroom and in the closet, and that's where we created it. I had an MPC 60, a Numark mixer, and a Technics 1200, and a ton of records.

I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.

It seems when I put together records, as Henley used to say, they're just like movies. They should have action, tension, love scenes, places to relax.

'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.

I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.

I'm not a mixer. That's not what I do. I'm a songwriter, a singer, and a guitar player. You might have some ideas here and there, but you let the mixer mix the song because, overall, you've gotta trust their instincts.

If you listen to my early music, I didn't know how to mix. I barely knew how to record for real, and I didn't care.

I worked on 'Cadillactica' with the mind to not sample as much and focus on creativity.

I like to explore a lot of textural, arrangement aspects in the studio.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

Sometimes I listen to music and I wonder how did they get certain sounds.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

All I know is record, record, record, record.

I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.

I certainly considered DJing. I bought four vinyls, and I bought some turntables, and I was like, 'Um. Yeah. I'm not gonna do this. This is not my thing.'

I think, for me, a way to really come up with new ideas and come up with new ways of writing music is to create a unique sound palette or soundscape for all the films I'm working on.

When I write for an album, I'll always have about 30 different types of instrument around me. I set them up in a small room with my computer running GarageBand, which is always set to record.

I love making soundtracks for video games, because it is a completely different challenge, and I get to do something different.

Me and my little cousin DJ John John, we used to always be DJing in the house. We never took it seriously.

Here's the thing: My hobby is to DJ. I just love music, so I can hear the beginning of a beat, the beginning of a melody, and think of the words, think of the name of the song, think of the hook, and just go there.