Ginuwine Quotes

I'm not really gonna stop. We've got so much stuff to do, so many songs we talked about, so many things to record.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

Plus, we spend most of our time writing music. Most of the time is spent in the studio in my house.

There's not a lot of thinking that I need to do away from the studio on Broken Bells stuff.

I wrote 'Actor' all on the computer. I didn't touch any instruments until I was in the studio. So while I had all these ornate arrangements, I didn't have any songs.

I enjoy the collaboration. I always envied people in bands who got to have that interaction. I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.

It really does take a lot of time to make records, to be in the studio and do all that stuff.

I'm getting in the studio with everybody I've always wanted to work with. That's the amazing thing.

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

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

We work pretty fast. I might be working, and I might knock out two, three songs. Quavo might come in two, three himself. Offset might come and do the same.

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.

Part of my growth as a producer was not just about making beats but also helping in the process of inspiring the song and making the song the center.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him.

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.

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.

I never write from concept. The beat is the beginning, and then I fill in the rest of the song into what it should be.

I write by myself and then deliver the song. Everybody knows, 'Leave Ester alone when she's in her zone.' Give me a studio and the tracks, and I'll call you when the doctor is done.

I love working with different musicians in the studio, that's a real joy working with someone for the first time.

I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.

He wanted to play accordion on something of mine and I said you can play accordion, but I want you to play piano and organ on some stuff. He came over a couple times a week for two weeks and gave me therapy as to whether I should do The Thorns or not.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

Mike Campbell and Don Henley and I wrote 'The Heart of the Matter,' which was a huge hit for Don.

When I get in the studio the idea is just to work and bang out as many as I can.