Kiki Dee Quotes

I've had every colour hair you can think of.

I'm going to start a new career as a singer, I think. I'm going to go the way of Russell Crowe.

I changed from 'Zoo Kid' to 'King Krule' mainly because I didn't want to be called a 'Kid' when I was 20, so I just thought I'd get rid of that alias and change it now while I'm younger. I wanted to change it quick. and 'King Krule' was the first thing that came into my head.

Dore Schary was then head of the studio and he wanted to change my name.

Hair is the greatest thing to experiment with because it's not permanent. If I didn't like my colour, I'd just change it.

I have had brown hair and bangs since I was 2. One year I dyed it blonde, which felt so weird.

I had no real education because I was in and out of schools so I decided that I would completely change my look, change my image, change my name and move to New York.

I remember walking into drugstores when I was younger and seeing all the hair color boxes on the shelves and just being so in awe. Having the control to dye your hair and change your look is such a part of self-expression.

Working as a producer, an arranger, and, in some cases, as a writer for some other people gave me a super different perspective.

As far as working with Kanye and Solange, that was amazing. After 'Swing Lo Magellan', I needed a change. Getting to work in that capacity, writing for other people and working for other people as a writer and as a person who's not representing it as the front person or whatever - it's such a different perspective you can get.

So basically, Travis Scott took files from Tommy Brown and took them to Kanye and said he produced them and it was on video. He took a song I had written a hook to and took it to Teyana Taylor for her to do and change a little bit.

I'm like this ghost - you look around, and all you see is the artist. But if you look at the credits, it's still Poo Bear.

You kind of have to have no ego to be a producer and a songwriter.

I've been in the room or watched artists walk in who don't write, and you can't figure out what they really want.

A lot of people have been sending me beats, I've just been getting it in.

No I.D. is like an alchemist and he'll only give you so much at one time. It's for the best at the end of the day, cause through the process of working with No I.D. I was able to soak up his perspective for songwriting and production and keeping music alive.

Amy Winehouse asked me a while ago if I had written any new songs. I played her something, and when I had finished, she looked at me and said, 'Is that it? Is that all you've got?'

I pretty much started going more towards the singing route when I came out with the song 'Selfish.'

When Eric Clapton cut 'After Midnight,' he sold so many records and it was so big at the time, I decided that I would pursue the songwriting thing. I was 34 years old at that time. I'd been down the pike and back before I had any success at all.

I would like to work with Drake. It would be cool.

We didn't move to L.A. to move to L.A. We moved to make music with Muggs.

When I first started writing songs, I was probably about ten or twelve years old, and the first thing you think as a songwriter is, 'Can this be a hit? Can this come out, and people are going to hear the song and like the song, and then they're going to like you, and you'll get famous and rich?' That hasn't changed a bit.

I feel like, genre-wise, the walls are coming down in Nashville. There are so many writers who have moved to town from all walks of life. There's this immense respect for country, but there are pop songwriters, R&B. Nashville has become sort of this go-to writing city for every genre.

We record in the spirit of the Berry Gordy camp and Gamble & Huff, where people were writing up to a dozen quality songs within a day because the competition was that hard.

I was Eazy's pen, because he couldn't write lyrics.