Sheena Easton Quotes

That big hit 'Get Lucky' is a disco song - not only the melody and the whole concept, but we had one of the great disco guys and one of the best guitarists ever, Nile Rodgers, to play on it. So that's great disco, but a modern disco, because it has great vocoders and synthesizers.

Yeah, I came in at the end of the Notorious album, played on about five tracks and then we went on a tour. Then we did another album, Big Thing, and then we started writing songs together in 1989.

Puffy produced four of the tracks on the album. Those are the four songs that are collaborations between Puffy and me. And he gives me my space to work even when we work together, like with my producer and my vocal coach.

I love working with producers, like doing the record with Laidback Luke on 'Turbulence' and working with Afrojack on 'No Beef.'

With 'Light,' I collaborated with a lot of different producers and musicians I respected, and we all wrote and worked on material which I then took to an old-school producer, David Kahne, and we put it all together. The lyrics came first - they were written before the music.

I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.

Back in 1985, I was working on my third solo album when the band came to me and asked me to produce the next Fleetwood Mac project. At that point, I put aside my solo work - which was half finished - and committed myself for the next seventeen months to producing 'Tango in the Night.'

I actually enjoyed making 'Tango In The Night.'

No matter what I'm doing for myself or someone else, I'm constantly writing and working on other people's albums.

We've been having a great time writing for other artists in and amongst making our Bastille albums and mixtapes.

I block out a good amount of time - could be 6 or 8 months - and I just write. I do a lot of traveling, and I do a lot of co-writing with different writers just to start getting ideas out and kind of get a little bit of direction as far as where I'm going to go with the album.

When I make albums, I do a lot of songwriting but not necessarily a whole album.

'The Alesha Show' was done with production crew Xenomania, and this time, I've worked with a lot of upcoming new producers.

It wasn't until the fourth or fifth Van Halen record that people would go, 'Wow! You're singing backgrounds on those records. That's not David Lee Roth.' And I go, 'Hell, no! That's not David Lee Roth.'

If you got a vibe with a producer I think you should go full-fledged instead of being satisfied with two songs.

I would love for Radiohead to give me a call and say, 'Hey, kid, we wanna see what it's like working with you. We want you to produce our next record.'

One of the things that I loved about working on that first album was working with Billy Mann, who produced the album, and all the people who worked to finish it. Just seeing how they did things and learning.

There are a lot of names on the credits of 'The Glow Pt. 2,' but most of those people are just on one half of one song or something.

I get on really well with Jake Gosling, who is a great producer, and I have written a song with Fraser T Smith.

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

Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.

Working with Jimmy Jam and Terry Lewis was crazy.

I've never gone to a singer with a song and said 'why don't you try this?' or tried to get a record like that. My head just wasn't there.

We'd love to collaborate with Sam Smith. I've told him. Many times. We've got loads of songs we've written that we can literally just hear his voice on.

I've never worked with huge pop acts, I mightn't like it, but it's something I've always wanted to try.