Christian Vieri Quotes

Blending tracks and weaving and manipulating prerecorded music to create this mood, some people do it much better than others.

I love a good remix! Moto Blanco did a great one of 'I Hope'.

For the chorus of 'Secrets,' we used The Romantics' 'Talking in Your Sleep' and 'Pale Shelter' by Tears for Fears. It's like hip-hop: just grab it.

I've been gearing up for this future of writing a lot of new music by digging into my favorite old stuff, and twisting it around and highlighting the things I really love.

I'm remixing an R.E.M. track called 'I've Been High' from their last album, 'Reveal.' It's a beautiful song, but record execs didn't put it out as a single because it didn't sound like the R.E.M. we're used to. So I asked Michael Stipe if I could have the tapes to do a remix, and he agreed.

Dance music is no longer a simple Donna Summer beat. It's become a whole language that I find fascinating and exciting. Eventually, it will lose the dance tag and join the fore of rock.

Now everybody's sampling.

Electronic music has definitely taken over America. There is more and more interaction with hip hop.

I like the way remixes sound. Some of them are really creative.

I don't know, samples are just like unlimited ideas, you know? Sometimes a lot of people sample one song. A lot of it is also really just up to the artist and their creativity to see where it goes and what they want to do.

I just take rock songs and mix it with hip-hop and a little bit of R&B.

In the past, my process would start with a sample of another song, and I'd chop it up and use that as the basis of the song that I was making.

I think remixes give songs more life.

I like to blur the line between remix and cover version and new song.

I'm really a singer, so I love songs and I love singing. I like rap music, but I didn't grow up freestyling.

Remixes come very quickly, because you already have the melody and the vocals. I have a great passion for music, so it doesn't matter to me if it's a remix or an original production. I don't think about it as, 'Well, I have to spend three hours on a remix or I have to do something all original.'

I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.

There was no match for Barry White. His music is just going to live forever. It's not limited to disco or soul or hip-hop or anything.

Puffy's contribution to hip-hop culture was the remix. He offered us the music that his mom played in front of him, with newer drums and younger artists. That worked, and will consistently be there. The remix comes right after the original record, that's something Puffy did to influence the culture.

I'd been DJ-ing in these clubs in N.Y. and I hated everything that was coming out. So I decided I would make it myself. People were making mash-ups or remixes, but I was extra bored, so I actually started remaking these records from scratch.

'White Rabbit' was mostly done in about two days, the music in about half an hour. The music is a 'Bolero' rip-off and the lyrics a rearrangement of 'Alice in Wonderland.' You take two spectacular hits and throw them together, and it's hard to miss.

Hip-hop is a part of rock & roll because it comes from DJ culture. DJ culture is the embodiment of all genres and all recorded music, if you actually pay attention to it.

Today, it's very tempting to create songs by cutting and pasting in the studio.

Usually, I cut songs by other people that are artists that I already love.

I did this thing with Trisha Yearwood, a song called 'The Price.' I had been sitting on it for a while, because I figured, you know, this really needs a good singer.