Travis Barker Quotes

I'm always in the studio with my dad. I've written a few songs. I'll start off writing rhymes, then freestyles, then I add in beats.

I've been working a lot with No I.D. and Hit-Boy.

It was [Kanye West] who spoke, and then we met and recorded some songs. After, you know what it is: we all bump like crazy.

The music industry is not what it used to be. Being in a good band is great, and I've been lucky to be in great bands. I've done solo stuff, and that's been great. I also produce rock bands and I do co-writes, where I write with different singers in bands and songwriters.

Working with Thug and working with Future feels the same. They don't sound like each other, but their creative process and their level of talent is the same. Anybody who knows both of them would agree.

I want to write just as much as Kanye may have for whomever Kanye has written for.

I got a record with Frank Ocean.

I played on Asia records with Geoff Downes.

I'd love to work with Drake; I'd love to work with Frank Ocean, Jay Z, and Kanye. The list is endless.

People will always have the desire to make rock and roll records, and they'll always have the desire to sell rock and roll records. Most of the people making these records do it because it is a business, and if someone says, "You can't do this", they won't complain. They'll just keep making records, but they'll get blander and blander. There'll still be rock and roll, but compared to what it really could be or ought to be, I don't think it'll be all that terrific.

The beauty of having a studio is I can go in and record any time I want to, so you can always put down your ideas or whatever. You use your voice recorder and, you know, take your voice notes down and just preserve all the little jewels and gems when you're in there, putting that song together.

What excites me is the idea of doing a record that's pretty clean and focused on songs. I've rushed a lot with previous albums and there's not a rush now - it's not a race.

I've already done two cover albums. I don't know, maybe it wouldn't be a good idea to do another, but I just did the Led Zeppelin song for fun, and I thought I could do it kind of quick since songs that I love a lot I can do fast.

Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.

The recording process was basically me meeting with different writers, going into their studio, starting a song and just hanging out and chatting and getting to know how they work. Everybody has a different writing process so there was a lot of getting to know people, which can be fun and stressful at the same time.

I got a new song called "The Plug" and the hook says "I'm the plug/I'm connected to everything you love.

To me the most important thing is getting into a studio and making an album that is 12 or 14 amazing songs, getting up onstage, and making people happy by livening the rock.

I would just be vibing with whatever I liked the most. And then there were a couple songs that I started on my own. I would have a melody or an idea and I would take it to the studio to go through it.

When you're a rapper, just a rapper, you have to kind of settle for whatever comes your way - if a beat is hot, you wanna rap on it, period.

The Rock 'n' Roll Hall of Fame was a great idea when it started, but I think they ought to close it, I think it's full.

I've got a lot of songs about having fun and partying, but it's a lot of work. Sometimes, I make 50 songs and pick out the best 10. I've been in the studio all day, all night, making the beat, writing the raps.

In my naïvety, I thought people who were in rock 'n' roll bands were great artists, and it was a huge shock to the system to realise that they weren't, that they didn't even aspire to be, really. Some of them did, maybe, but some of them, like Samson, were very frightened of the idea.

You can fool some of the people part of the time in a rock and roll song, fifty million Elvis Presley fans can't be all wrong.

You were born to rock, you'll never be an opera star.

I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."