Quotes About Artistry

I never feel like I need to make a song that sells 5 million copies; that's not the point of why I make music. It's great if that happens, like it did with 'Clarity,' but my goal is to always make a better track than the last one.

You know how sometimes you hear a chord played on an organ and you can feel it vibrating in your bones? Sometimes when I'm writing, I can feel my bones vibrating because I'll have a thought or I'll have a character's voice in my head, and that's when I know I'm on the right track.

I'll work thirteen hours at a time producing a new track. Not a lot of people understand that - not girlfriends, friends, family.

Nothing had been attempted like that, to lift Dad's voice, literally, off of that track and put it on a brand-new one, and then line it up, match it up, get the phrasing right. I remember listening - everyone listening at the end, and we were just enthralled. It was really wonderful.

When I get inspired, I give out free music. If you look at my track record from the beginning, that's always what I've done. I've never changed.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

Rap is like any other genre: There are the people who are very creative with it and do remarkable things... and then there's that whole quadrant that sounds alike. There's great stuff that's taken the genre to a new level over the years, and 'Regulate' was one of those tracks that was kind of a landmark.

When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.

I love Bob Dylan. 'Blood on the Tracks' is one of my top five records.

I really love crafting albums and thinking of albums as a whole, not just individual songs or singles or just tracks, but a whole entire album.

We hear so many records these days that are done with click tracks, as opposed to a drummer.

Besides the two Christmas things, we've got a about a dozen new tracks we're working on.

I love the way Pharell is laying down great drum tracks. He is a great drummer.

Sometimes I just hit the keyboard in a way I'd like the rhythm of the tracks to sound.

I did the first 'Oxygene' on an 8 tracks tape recorder with very few instruments, with no other choice than being minimalist.

I like my stuff 'cause I only ever end up with tracks that I really, really like. It always appeals to me.

I have done recreated tracks myself.

We don't really talk about music that much, to be honest with you. It's not some I usually - I can't really talk about other people's tracks never mind my own.

I really believe in albums, even though some people believe the year of the album has passed. I love singular pop songs or tracks, but what really affects me most deeply is if there's an hour of music or 45 minutes of music that flows really well and tells a story.

I have some tracks and songs written for future collaboration, and I'm happy to work with artists who have the right voice and taste.

I grew up listening to a lot of soul music, which has probably informed the way that I sing on my tracks.

I'm used to making songs; that's how I learned to make music. My structures will always be more like pop songs than dance tracks.

There are so many forms of soul: David Bowie was soulful as hell; Johnny Cash was soulful as hell; you also have a Prince, a Stevie Wonder. I want to bring my perception of that and not live inside the box of, 'This is the type of tracks you get,' 'This is the type of drums you get.'

I feel like, for me as an artist, it takes me a while of living with the tracks and living with the body of work to realize what it's all about.