I made a handshake agreement with my best friend in college, Michael Shamberg, who is now a movie producer. We used to write shows together, and we said, "Let's only do what's fun. Let's never take a job where we have to dress up in a suit."
I remember reading an article about this idea of borderline personality disorder, which is reality producers try the find people who are sort of flamboyantly anti-social in these certain ways, because what happens when you put them around other people is they drag everyone down to their level. I feel like I`m watching this disgraceful race to the bottom.
I had a 90-minute one-man show. I performed it and my life just exploded. Everything - my life just changed. Every writer, director, producer, studio head, movie star - they all wanted it. It was the hottest property since 'Rocky.'
Ricky's [Reed] a lot like me. He always says we have the same brain. He does all different genres, and it just happens his first big hit as a producer was [Derulo's] "Talk Dirty to Me," and that Pitbull is his best friend. But he can actually - I swear - he can do every genre.
You can put together an album with a bunch of producers, but your vision has to be clear. If you just grab a track from this person and this person and put them on a CD it doesn't mean that they go, just because you are rapping over them.
I have done whole projects with Scoop Deville, I like to basically work with a single producer. I always just worked on a bunch of songs, and then put them together, whether it was an EP or another project. None of them were mixtapes where I was rapping over other peoples beats.
Do not turn into just cookie-cutter producer, cookie-cutter this, but a producer that people say wow, when they do something it's great or just unique or whatever.
I have to admit that I am not great at selecting music for CDs! I have a few personal favorites, and then I let my producer take it from there!
Simon Collinson, of digital publisher Canelo and über-cool Aussie mag The Lifted Brow, is our digital producer; Sarah Shin, Verso's comms director, is helping us out with press publicity; Soraya Gilanni, who mainly does production and set design for films and commercials, is our art director.
I understand the impact of those kinds of factors on job creation. I will have a very different policy. My policy on energy is to take advantage of coal, oil, natural gas, as well as our renewables, and nuclear - make America the largest energy producer in the world.
I am working with various music producers and hope to be releasing music.
I'm such a copycat."I want to try and do this like the Donovan song 'Changes'," or "I want to do this bit from Van Morrison." I don't know how else to illustrate something, because I'm not a super-great musician. In that way, I'm more like the producer.
In the earlier part of the 90s, I was really hell-bent on discovering how new technology works and how to make records entirely without a producer, which isn't necessarily what fans wanted. But I had to do it because I felt it was in my destiny or whatever.
My two young producers, Fernando Perdomo and Chris Price, had to explain to me that there's a division right now between the two sides. They took three living, breathing percussionists to do the beats on the song "Intensity". We've got all kinds of layers, because I kept saying we didn't get all the beats. If you hear a synth, it's because I put my foot down. But I had to fight for it because they wanted it all totally organic.
For me able to do the records I want to do and not have to worry about this producer or that producer or that trend, I'm not really interested in that.
I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.
In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).
I started meeting the right people, like [producer] Dave [Okumu], who explained to me how songwriting is really simple - "just like shitting," he said. "You gotta let it all out." When he put it like that, however disgusting it is, it made a lot of sense to me.
I'm a producer in the old-school way - not just some slacker working on Pro Tools.
As a producer you can be more objective about the songs because you didn't write them.
I've been into gear for a long time, but I never saw myself as a producer because I didn't have the patience to finish things in a professional way.
I casually listen to mixes, but I don't know all the names of the tunes and the producers and stuff. It's hard to keep up with.
The hard part was when I went into the studio with co-producer Eric Broucek, and he started slashing my demos. I always sweat that.
I'm 45 and I don't have time to spend two years of my life bringing in producers and dragging the record around the planet.
It's such a normal thing for a dance producer to make music and try it out in the club, but that was relatively new to me. I wanted to make a good album that felt like it had a point.
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