Quotes About Studio

I was amazed and upset by the looks I got just walking around the studio... It illuminates the ugliness and the beauty that exists within each of us, and that's what this story represents to me.

I love getting into a studio with a bunch of friends. When the day's done, we've made something. We recognize that we're from different walks of the music industry, and there's no reason we shouldn't be collaborating. That's what I'm trying to create with thenewno2 - a sense of community.

No, I'm a quite big believer in not being in the studio if I don't feel like being in there.

I loved writing fiction. I mean, once I found the character, or the characters, and knew who they were and knew their back-stories, it really - I mean, I went into my studio every day, thinking, 'What's gonna happen to Billy today?'

There have been times when I booked out a dance studio and I've tried to choreograph in there and suddenly I feel like I have no creativity.

A lot of getting a song done is booking the studio time.

When I'm in the studio, I just let it rip. That's my process. I get in the booth, and whatever is on my mind at the time, I just go off and say it.

I started playing music around 13 or 14, played jazz in high school, and played other stuff in college. After college, I tried to make it as a musician. I lived in a big squalid house full of dudes outside of Boston. We were all musicians. We built this studio in the basement and played there all hours of the day.

I don't care if it's Dr. Dre or Dr. Luke or Brian Eno. When you're in a studio and making music together, it becomes pretty apparent if you see eye to eye.

I wore so much rubber when I was at MGM, I bumped into the wall once, and I ricocheted.

I sleep in a bunk bed because my studio's under it. It's like a loft bed.

I'm always looking for a reason to say no when I'm approached about a big studio tentpole because your fear is will you be consumed into the anonymous machine, and it will suck out any specificity and point of view that you might hope to express.

With rap, you go in the studio, you make music, you put the music out, then all of a sudden, you're a star: you have a big record on the radio, and you're on stage, and you've never done it before. Let's say your first show is 'Summer Jam,' and you're in front of 60,000 people, and you've never played an arena, ever. You're gonna suck.

One day, we were going to the studio for John's recording session, and as we were leaving to get to the studio, in the elevator, all of a sudden, John leaned over and gave me a kiss. He said, 'I've been waiting to do this all day.' I said, 'What are you talking about?' What happened was, he'd liked me.

All of a sudden, I was in charge of my own decisions in the studio, and I didn't have someone to guide me on what I was doing, right or wrong... I wasn't a producer, and I didn't realize until then how important producers were and how much they assisted me in my work. I tried to do what I could, but I had no idea what would be good for the market.

I don't suffer the decisions the studio world makes.

My engineer on the 'Life is Too $hort' album was Al Eaton. Al Eaton had a studio called One Little Indian Studios, and he was a pretty good guitar player. He would suggest certain songs. Al was the force behind 'Life is Too $hort' and definitely the force behind songs like 'The Ghetto.'

In the mid-1970s, I even decided to make my own country album. I put the idea to my record company, thinking we'd just go into the studio in the U.K. and make a novelty album. But instead, they suggested I go to Nashville. I was flabbergasted. I hadn't expected that at all.

I'm not the only one in the studio a lot of times, so I have my boys in there and they'll tell me and give me their suggestions and what they think.

Dancewear is very different from sportswear. Sportswear doesn't quite suit what we need to do with our bodies, so I'm always fiddling with my clothes in the studio.

Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.

The thing with R Kelly was, he liked to record late at night, around midnight. And what was different with his studio was that one room had a recording suite, and next door was a club, with 40 or 50 people dancing.

In a studio context, the music becomes greater than the sum of its parts. When you have collaboration, you have other people's strengths that I don't share, so my song can get stronger.

I don't think you can cover a song unless you love it and have a relationship with it. With 'Golden Heart' I felt a sense of responsibility. And when we were recording it in the studio, it felt almost dream-like. Something you might hear if you were in Senegal, with someone singing from the mosque in the morning just as the sun's coming up.