Bazzi Quotes

When I first got signed, I used to literally pick up a pen and pad. Write bars in my notes, even whole songs. Nowadays, I just go off the feeling.

There's a lot of craft that goes into achieving a hit song - at the beginning of your career, you're usually more inspiration than craft, and you get great when those intersect. A skilled songwriter can get you to that intersection.

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

Every album is just a greatest hits of whatever songs are on a pile when I go in to make a record.

Things like 'Lucky Man' were never written to even be a record, let alone a hit record.

I've never forgotten a single record I cut or a song I wrote.

I'm a creative person, and I've got a lot of ideas. People probably thought that my mentality was quick fame because I made 'Rack City' and it blew up fast, but I have over 1,000 songs recorded.

I feel like a hit will come whenever it does, but I don't want to sit in a studio trying to figure out the magic formula and mixing spices and trying to come up with the perfect song.

I don't sit down to write a number one hit. I'm not that good at my job - I don't know how to do that.

What's cool about making music is when you create a record, it comes from somewhere.

Umm... my favourite Wizkid tune of all time would be 'Don't Dull' 'cos I recorded the track in, like, 5 minutes. The beat was ready, we went into the studio and freestyled, and it was ready. The song became really, really big, so I think 'Don't Dull' is still my favourite.

I can't freestyle or else I'll just start saying anything, so I'll write the song first and then record. I'll rap to the producer and he'll make the beat off my rap.

At times, I will get in the studio and force myself to just write an entire front-to-back record, and 'Let Me Go' is one of these.

When I see things that are inspiring, I must write a song about it. Some people make a t-shirt or slap something on a wall with paint, but I must make music and freestyle rap.

The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I've always had a lot to say. I'd always written poems.

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.

For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.

You don't just go to the studio and say, 'I'm going to write a hit.' It becomes a hit when people like your compositions.

I'm a synthesist. I'm always making music. And I make a lot of different kinds of music all the time. Some of it gets finished and some of it doesn't.

I knew there was something about 'Sun Medallion,' in particular, because I just had to record it the second I wrote it.

My first record was made in Termonfeckin, which is a small town on the north-east coast of Ireland. I had been in London, but it didn't click. So, at home, I didn't think about making something, just whether something could be made. There was no grand plan.

One day I'll wake up and I'll have 10 or 12 songs and think, 'Oh that sounds like it could be a record.'

It takes a lot of selfish time to make music.

He is not in the least arrogant. The last album was written in a room in Sussex. He was like a mad professor, spending all day writing and then coming out with brilliant tunes.

I don't really think about what the subject of my next album will be. I just know that I'm going to make another album.