Murda Beatz Quotes

If an artist wants to work with me because they feel I've made some credible albums and there've been things that are long-lasting, it's because those artists took the time and we built an idea.

I always say I wanna work with Alicia Keys. I'm in awe of her.

I actually did a remix for Katy Perry, and her management didn't respond.

Coming from Ruff Ryders, there would be, like, 30 guys in the studio at once, and then me, trying to do my own thing.

I don't write all my stuff. Everybody always thinks that. But in just about every album I've ever had has been about 50-50 songs I've written or co-written and other people's songs.

As long as I'm around the cats in the hip hop scene, they'll throw me a track and I'll write a rap over it.

I've always had a lot of creative impact on the music with Timbaland.

If I'm writing for a particular artist, I definitely think about their past records, pay attention to the type of tempos that they like. If I have the privilege of actually being in the session with the artist, I just like to have a conversation with them.

If anyone asks me about the George Martin years I usually say I group all of that stuff together as the single greatest experience but I wasn't scared I was just really looking forward to it.

Well, I worked with lots of different artists, of course.

When I work with artists, I give them a general guideline of what my vision is. Then they're going to speak their minds on how they view it, too. The song that defines 'Neon Future' the best is the title track. I wrote that with Luke Steele of Empire of the Sun. It's through his words. We had an amazing songwriting session together, connecting.

A lot of people don't know that before the artist, I wanted to be a writer and producer. That's always been a love of mine. Its easy for me to do it on myself, but it's fun to create for someone else.

I work with a bunch of producers on every album, but the difference for 'Evolver' was that I couldn't get any time with Kanye. I forget what he was doing at the time, but he was all over the place. We were never at the same city at the same time.

I'm a huge Lauryn Hill and Erykah Badu fan, so working with those two in any capacity would be a dream.

I know Ed Sheeran writes with a bunch of fantastic writers, but for me, it's quite difficult to be that honest with other people.

I've learned a lot from Dave Stewart; he's a serial collaborator. He's co-written songs with more people than anybody I know - like the most incredible people too.

Shortly after I moved to Los Angeles, I was looking for work, and I happened to be invited to Ray's studio and sat in and played on a couple of his demos. I didn't charge him a dime for it. I was on cloud nine to be working in the same room as Ray Charles, one of my huge idols.

From the end of 2015 to the start of 2016, I was always at the studio with Mustard, just figuring out a sound.

I got to work with John Lennon. That was pretty cool.

I never thought that was even possible, to have your friends working with you. In the music, yes, in the creative side, yes, but in the business side, I need people who take me fully seriously.

I've been working with Thundercat forever.

When I'm in a session with an artist, my job is to help execute their vision - so it's whatever story they're telling, and the news doesn't specifically affect that.

Working with Dolly Parton was one of the coolest experiences of my life.

The Netflix thing with Nas is more of a documentary, where we kind of… talk. We go to my neighborhood. You get to see where I'm from and all that. And then, I'm in the studio with Nas.

I've produced all of Childish Gambino's music.