Quotes About Collaboration

Our recordings, you feel that it's been, not labored, but you feel that it's been constructed in a way where sometimes it's hard for us to create the feeling that this was done in a room.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

I like to collaborate with other people for studio recordings because I believe collaboration, in any form, makes music better.

We played with AC/DC. There are actual recordings of us doing 'Johnny B Good' together.

You know, I did records by myself and I always will say the Isley Brothers, and featuring Ronald. I won't, you know, just, I won't try to deviate from the Isley Brothers, because that's what the family dream was all about.

With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.

From then on in, me and Sonny started makin' records. My first records, Sonny was backin' me up. Sonny wasn't singin' natural at the time; he was singin' falsetto.

Now, when an American has an idea, he directly seeks a second American to share it. If there be three, they elect a president and two secretaries. Given four, they name a keeper of records, and the office is ready for work; five, they convene a general meeting, and the club is fully constituted.

Making records should be fun.

If you want to sell the most records, duet with me. If you need someone to come in and bless your record sales, I'm your man.

It's funny - some producers ask me, 'Man, how do you work on a Bieber record? That would kill my career.' I can work on any record there is as long as they are good records and you're pushing things forward.

I wasn't on 'You Really Got Me,' but I did play on the Kinks' records.

Making your own records is really satisfying in the sense that you more or less get to do what you want. It may not sell or whatever, but on an artistic level, the only people that you really have to fight with are the people in your own band.

Actually I was writing with people that didn't get records.

I'm friends with Carla Olsen and she's doing a lot of producing these days. She's getting quite a little collection of records that she's produced. She's real busy.

All I want to do is sing on other people's records.

Long made it possible for me to get on records, so what little money he did take from me, if any at all, he was entitled to it. He didn't take something from me.

And you have a record company behind it, this is a key too, you need people to fight for your records, at least a little bit. So if you have a great song, it's catchy, and you've got a little bit of help, I think that's all you need. But there hasn't been that in music.

I realized that, for me, great records always moved me with the lyrics and the melodies. And so I said, 'I think I can do it now,' 'cause I found a team of people who understand I didn't want a record that was 'drop it, pop it, shake it' just 'cause I can dance.

The way television is done, you're kind of set on a certain path, and then episodic directors come in every week to try to recreate that.

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Recruiting is always a snow-ball effect because when you get really good players and they like it, the other players want to play with them.

We work with every one of them to see if their character wouldn't say a certain thing or if something is worded awkwardly - we work with them to rectify that.

You want a place where you can say that this is your show that you invested in with other actors, but there's also that flexibility of being a recurring actor.