I made the record, and I sent it over to Jay Brown, who was working on Rihanna's album. He was like, "Send me that record for Rihanna."
One half was like, I hope this doesn't affect it, and the other half was like, it's great that people know I did a Beyoncé record.
I find it really disappointing and cheap when someone's copied the whole drum sound from a record.
I have my own record company. I have to answer to God, basically. I'm not young, so I want to make the best possible work I can before I exit.
I got involved, for the most part, in the actual song construction, lyrics even. I didn't want to write the lyrics, but if there was a howler in there, I definitely pointed it out. Just trying to bring it up to a higher level. Of course, after a couple records, people get fed up with that. That's fine.
Initially, I was very much concerned with having absolute control. But as time has gone by, I'm not. I mean, the whole first record was really just how I spent my free time: stoned and drinking coffee in my house, spending three hours on a song.
I didn't want to do a double album. I just felt like the last two records I made were like that, and a lot of records I was buying were like that, and it started to feel like it was too much music to digest at once.
If I wanted to contribute to the hyphy movement, what good is it making a hyphy record that isn't embraced by that community?
Anybody can make hood music or club records, that's not hard. But can you make music that touch people's souls. That's what I was out to do.
I've always loved music, and I've always sought out the stranger things, even in a record you could buy at the mall.
I never willfully want to write the same record twice, which is probably why I jump from project to project. But I can't ignore that there are things that inspire me, and I love celebrating those.
I can really only can record at home.
If you look at our records, I stood up to corporate America time and time again. I went to Mexico. I saw the lives of people who were working in American factories and making $0.25 an hour.
What excites me is the idea of doing a record that's pretty clean and focused on songs. I've rushed a lot with previous albums and there's not a rush now - it's not a race.
Everyone uses noise as a crutch sometimes - I've totally done it. But when you make a good-sounding record there's nothing there but you.
Some of the best records are the ones that really affect you the most - they're pure emotion and energy, and it's like you're in that person's brain. It's pretty cool.
I'm training myself to go back to the way I used to record before electronic programs.
I think it's safe to say that 50% of the record buying metal community is people between the ages of 16 and 25 - people still in their teenage-angsty, early young-adult years.
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.
Trying to cope with the balance between home life and road life has been a theme in my music since early Red House Painters records.
It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs; songs that I couldn't just sit down and play in front of someone and then get them to play over it.
Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)
I want to do a stripped-down album. That style is actually where my heart is - storytelling and just letting the voice and the lyrics talk for themselves. I still want to write the perfect song and sing it in the most honest, undressed way. But I feel like I have to gather more experiences and more layers in my voice. I have to live more to be able to tell this tale. So I'm saving my folk record. I have a feeling nobody will understand it.
I'm a girl from Sweden. I took a lot of risks and went to New York by myself when I was 19 just because I read about it in a few books. I came here knowing nobody, having no money, and now I'm doing all these things like making records and videos every day.
I am a true believer that a record should not be a bunch of songs that sound exactly the same.
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