Huey Lewis Quotes

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've wanted to do it for years, but every attempt at it has turned into another tune. We have actually taken a different approach, we're doing a lot of sampling - we're even sampling bits of Flash!

With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.

The difference between doing a remix and an original track is that when you do a remix, you obviously already have the original track as a starting point. But with the originals you start from scratch.

Certain key words, like, 'break it down,' 'this is how we do it' - they'll always end up on my tracks.

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 demo all of my songs on Garage Band, where I pretty much play everything - not very well, but I manage to hammer out a drum beat and a bass idea.

In 2008, I was more just thinking about using the touchscreen for writing the songs. From there I started thinking about how I visualised music.

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.

I'll hear a beat and think, 'How can I make this a banger?' I'll write the lyrics on my phone or on a piece of paper, and either way, it's going to be a slapper.

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

I downloaded ProTools - legally, of course... and I wanted to impress girls by making remixes of songs.

I like writing on piano and a computer, and a lot of 'Plans' came out of samples and vocal lines.

The first turning point, when I stopped doing things by myself and the Bastille project began, was the inclusion of more electronic music into the sound.

In school, I did a lot of computer work. I'd take splices from Kurt Weill songs and loop them in bars, in beats of seven, trying all different kinds of things.

A lot of people hear things on the radio and try to make their own version of that.

What it is now is basically I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac.

What it is now is basically, I'll sit on my computer; I basically kind of play the computer as an instrument, I guess you could say. I guess I play the Mac. And how it works is, say - I have a program called 'Ableton Live.' And, you know, you'll open it up, and it's just blank. There's nothing there. And then you start.

When you're sitting in the basement trying to get on, you have no choice - you've gotta figure out how to make a song: 'I've gotta bang on these buttons until it sounds good.'

If I sample a song, I usually make samples out of the whole album. Then I move on after that. Doesn't mean I'm going to release that whole album, but I do that.

I used to re-create the beats that I heard.

I write all of my songs from scratch, so the one thing I love about EDM is the way a song transforms into a piece of art, and how the different sounds can change the feel of the record.

I'm always making beats, and when I can hear Ezra singing on one of them in my head, I send it to him. That's one of the ways that we've always worked together.

You should find the dopest producer in your area, and that producer is always going to want songs written to his beat.

Being in Weezer's just gotten so much more fun over the years. I love almost every part of my job. My very favorite part is working on new songs.