Grandmaster Flash Quotes

I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

Keep in mind, you can use Auto-Tune and you can know how to work it perfectly, but you still have to know how to write a good song.

A great song has to stand on its own, just singing and playing, and the rest is frosting. But you have to pay attention to the frosting.

My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.

Putting together a hit record is like putting together a puzzle.

I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.

I want to make an album with just great beats and big vocals and just amazing lyrics.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

I take pride in lyrics. I take pride in music and staying on beat and being on key.

For me, it's always just about playing the song and recording it and giving it what it needs as a song.

When we record a song, like 'Bedside Manner,' it's important that the next time I write a somber, mid-tempo song that we don't treat it the same way.

I'm not somebody who can tell if the song is good enough to be pushed until I hear what it sounds like after all the bells and whistles are put on it.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool. On paper, though, it's all stripped back. The musical idea is the one that wins.

Normally when I work with bands I'm trying to refine and improve what's already there.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

When I walked into the studio, the chorus of 'Nobody Love' was already set. For me, the challenge was to make it have depth.

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

It's the best marriage of songs and production. But I have to say, I have an affinity for Bossanova.

I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.

There are seven songs finished and on par with any that are on Siren's.

Songs used to be short, then they became longer, and now they're getting shorter. But otherwise, music is about a beat and a message. If the beat gets to the audience, and the message touches them, you've got a hit.

Music is wonderful. Especially if there's some kind of content to it.

I had 25 or 30 songs. Sequencing the record, I left that to the producer. I'm not into doing that stuff.