James Lipton Quotes

I have a studio in a barn at home - we rehearse there, we film there and we record there. It's fun to hang out with my guys and see what comes out next.

I think I have allowed my voice to experiment with the different genres. And I think that I have just really enjoyed the journey of getting to know my voice and seeing what it's capable of, what it's not capable of.

I grew up listening to everything. I have such a love for music, but I don't want to make the same album over and over again.

I think that certainly, whenever you have a new band, the first record always has a certain energy to it before you know what you're doing. I think some of the early Sonic Youth stuff was maybe like that.

The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.

I kind of make music where and when I can, and I guess that's why I collaborate so much.

In a way, I created Utopia as a platform for me to become more of a guitar player and less of the kind of balladeer that people were taking me for.

Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.

It was about working with other musicians, but more than that it's about exploring musical areas that you could never do with the band you're in, in my case Judas Priest. You could tackle musical areas and lyrical areas that wouldn't be appropriate for Priest.

I really believe that we're a studio-based band, and I have always thought that.

When you're making music, it's meant to be shared with people. Sometimes, even if I'm writing a song, someone else brings a vibe. There's something different about it. If someone can play a better bassline than me, I'll let them do it. I'm just here to fit in and see where it goes.

A lot of times Mick will play me different things, or I'll listen to a cassette, and out of twenty ideas or whatever, I'll find two or three that are just blowing me away, and we'll start working on them right away.

The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.

I love going into the studio with just an idea of the direction. Like, I want this tempo... I love to start from scratch, and the tracks sort of take on a life of their own.

I created MMG years ago. My desire was to create a space where the most talented artists in the world could be nurtured and supported. With that came a commitment. I vowed to support these artists through the good and the bad.

Any time I get a chance to work with artists that make me inspired and learn new stuff about music - every chance I get, I'll take.

I have a soft spot for 'Wind of Change' because it was my first one, and it was a departure from Humble Pie - very much so. It showed me the spectrum of what I could do.

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.

If there's only one genre that it's possible to listen to or possible to see live, then how can you explore different styles? How can you evolve, musically?

Salim-Sulaiman have always been my favourite. It's just an absolute pleasure working with them, and there's always something new you get to learn just by sitting in their studio and absorbing all that's happening around you.

I always try to evolve my sound - innovate, improve, be different but still Martin Garrix. It all starts with an idea in my head, which I work on until it starts to shape itself into a track.

I didn't want to be a one-hit wonder. I really wanted to make albums that had a different aesthetic every album and a different sound.

My music's matured so much, I don't have to create any barriers.

I have worked with a lot of people, all very different creatives, helping me hone my craft and discover myself as an artist and the record I want to make. It's such an amazing process seeing and hearing the tracks that people could eventually be listening to on my debut album!

When I work with different musicians, I draw a lot of things from them, and that has really expanded my musical thinking.