Quotes of All Topics . Occasions . Authors
You can't count me out.
I'm crossing the EDM barrier.
I've never been to Canada in my life.
I live in the studio and I'm inspired.
I wanted to be the man, the King of Miami.
It's great to work with a group from Miami.
I'm from New York. I was born in Long Island.
Things that are truly great will be timeless.
I want to delve into the world of performing.
My father didn't believe in my music. I don't blame him.
You can call me a beat-maker, but I'm a record producer.
I always said that someday I'm going to sing on a record.
I had a long run for, like, probably 10 years with no vacation.
I don't ever want to be considered some vanilla sherbet kinda guy.
Music has changed, but there will always be a demand for amazing music.
You should be able to deliver what the artist you're working with wants.
Me and Dr. Dre didn't speak for a while because I was going through my problems.
When I work with Dre, he usually does more than 100 records and then picks his favorites.
Ne-Yo and I are great friends and we've worked on a bunch of stuff together back in the day.
My goal is get those chart positions, doing something good in music, and seeing that money in the bank.
I don't sample. I'm not like one of these guys who concoct some beat on my sampler and just turns it in.
I think most I regret the way I treated Dr. Dre after he so graciously opened the doors to his kingdom to me.
You always want to be innovating and creating what's next. Versatility is also really important for a producer.
Every time I hit it with Big Boi, we always have good love. I was a huge fan of the 'Shutterbugg' record he did.
I would see musicians performing at weddings and bar mitzvahs, and I knew that at the very worst I could do that.
I have fallen back in love with music, which has allowed me to get back to my roots and create sounds without borders.
Let Me Love You' is one of my favorite records from my catalogue. It's one of those songs that just happened magically.
People just want the hottest records. It's not really about all the names attached to the project. It's about the work.
I've been around a lot of greats I seen in this industry that have problems, but the comeback can be that much greater.
I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.
I think it's just sad in this industry that sometimes the pressures of being successful make you say things that are untrue.
You can't be 'on' everyday, no one is a hit machine all the time. But if you're loving the music it will happen. It shouldn't be laborious.
Shyne's my man. I've been talking to him and I was talking to him all through his prison sentence. He's always remained a loyal person to me.
I'm not the guy trying to be all up in the videos and be a celebrity. I feel like I'm going to lose a certain amount of my privacy if I do that.
I've always taken it upon myself to be a pioneer or a leader, and create a different sound, not just go by what the radio is playing at the time.
Hip-hop is always what's the coolest, and people want to touch that. A lot of the Pop artists always want to get that stamp of approval and be down.
Because I am white, I feel like certain opportunities were thrown to me through all of the people from the white community who prey on hip-hop culture.
I keep my hip-hop as hip-hop, my R&B as R&B and my pop as pop. The ability to cross those boundaries and do all these things effectively is not commonly done.
It's rare when you stumble upon this amazing melody. We'd love to make a 'Let Me Love You' every time we go into the studio, but it's definitely a special one.
If people are given the right circumstances and the right track and the right melody, it's about the conviction. It's not necessarily about being a God-given virtuoso.
I watched my own father, he went bankrupt and had problems with the IRS. He was living beyond his means, and I guess I was doing the same thing and not even realizing it.
I would always be going from L.A. to Miami to New York, to Russia, St-Tropez. Costs about $50,000 for a domestic flight, $250,000 for overseas. Yeah, that's an expensive habit.
I spend six to seven days a week in the studio making records. I don't have time to go do a lot of things that you have to play the political game to get recognition with the Grammy crew.
As soon as 'Still D.R.E.' starts playing, you know what it is because of the melody. Most of the world's biggest records are less chord-driven. They have that instantly recognizable sound.
You've got to continue to be patient and get all your ducks in a row in order to make a success within this business. It's not an easy thing to get into. It takes years and years and years.
There's certain artists who are loyal and certain ones don't really care and don't give you the opportunity to follow through with them again. I'm insulted by a lot of the artists I delivered hits to.
When I first heard 'Let Me Love You,' I knew immediately it was going to be a hit. I believed in it and I had to literally force it down the throats of his record label, who weren't believers at first.
As a kid, I used to sit there and figure out how to play everybody's song, and through learning all those songs I learned how to put chords together, and it evolved till I could say, 'Hey, I just wrote that.'
The touring life wasn't for me. I like to wake up in the same place most days. And I'm really into sitting behind a mixing console and listening to music all night and making music all night. I'm a studio rat.
I never went out. I was not the guy at the club. I was almost scared of going to the club. All of a sudden, I found myself working with certain artists from L.A. and hanging out in L.A. and being introduced to a whole new lifestyle... and getting in trouble with them.