Kenny Beats Quotes

With this album, I tried not to think too much. If I heard a song that I loved, I promised myself I wouldn't over-think it. If I loved it and if I wanted to cut it, I would.

I love working with different artist with different styles and different producers with different sounds, creativity is everything.

The movie industry is one big collaboration. Music gives me that freedom to create things straight from my heart and my mind.

Make your own music. It can be done.

I don't think there is anything hard at all about having a lot of songs. It makes it easier to be less precious about them, and know that everybody's going to want to work on some of them.

It's not my style to be thinking about what a record is while I'm making it: I just write songs.

There's no rule that says you have to make records constantly, like clockwork, to continue being who you are.

Some of the best art in the world is collaborative, a mix of voices that are stronger together than separate. Take the Beatles, for example. Or every great movie ever made. We like to say they're the director's vision, but really, they're huge collaborations between directors, writers, actors, even producers.

You just wake up and make music.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

My music is not really about one ideology. It's not about one truth.

When I act, I feel like I am a color in someone else's painting - I can be the best blue that there is, but I'm still only part of their entire picture - but, with music, when I am performing with Reserved For Rondee, I am the painter, you know?

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.

Acting is awesome, but I'm really, really able to express myself creatively in music.

You just have to do your art. Nothing can stop you.

If you're working with a producer like Rick Rubin or whatever, you sing each line probably 30 different ways. Each time, they're like, 'Can you try it this way? Can you try it that way?' That's each line in the song, for each song.

When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.

It's very important when you in the studio to be with a confident creative.

When you do a pop album, the canvas is completely yours. There is no story situation forced on to your songs - you have the freedom to develop it right from the concept.

Anything with music, you got to have inspiration. You got to have inspiration to do good music.

I'd be making beats pretty much every day after school and it just grew and grew. I wasn't precious about my music. I just loved creating and putting stuff out there.

I just wanted to do my own albums where nobody could tell me what to do. Roc Nation was the perfect fit because I could do what I wanted to do.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

When I work with Future, it's almost like a work of art.

I feel like Court Yard Hounds keeps us idling. I think Emily and I function better when we're continually making music and playing, and this is a way to keep doing that.