Rob Halford Quotes

Working with the Kinks, there always seemed to be some kind of automatic process at work. Ray and I had this telepathy happening for a long time, where one of us always knew what the other could do with something.

I've played in bands with A-team players around. But unless they can play together, it doesn't do any good. And you can take guys who may not stand on their own up against a bunch of individuals they might be compared to, but you put 'em together, man, and they are unique unto themselves in a way that no one else can touch.

Anything I do with Team Sleep, I'd do with Deftones as well.

I've tried to force a solo before, but sometimes it's like, 'That thing don't really fit, man!'

I try to find a vocalist that I don't have to make better. I try to find a vocalist that can make me better, and in turn, I can make them better so that we are, as a team, making ourselves better. I like the vocalist to challenge me. I love to challenge a vocalist.

I saw it as a challenge to play with Pat and we put hours and hours into it, usually on the bus. The trick was to find something that we both wanted to play within our different styles which would add up to being greater than the sum of its parts.

Just because you put super great musicians together, it doesn't mean you're going to have that chemistry as a band.

I love bands that can collaborate, and I feel like the Rolling Stones wouldn't be nearly as great as they are if it wasn't for them having a real group.

I actually like the collaboration of working with different artists.

Musical 'fusion' projects have earned themselves a bad name, but that's mainly because they often involve pop artists conscripting orchestras to play unimaginative backdrops to their acts. What's really exciting is when you spark off a dialogue between very different musical forces.

I never thought that I would be creating my own 'cross-over' genre. What I did was very real and organic. I have worked in so many different styles so it all just came together.

I played with so many musicians and some of the musicians would have something I want. I steal a lot of them, and I mash it up, I mash it up into my chords.

And for the first time in a long time, I'm playing along somebody that has that same energy and fire and plays pretty much the same way I do. So, that was just nice to say.

So, you can set up an orchestra down this end of the railway station playing one particular area, and simultaneously at the other end something completely different going on. And in the middle they meet, or not, depending.

I have always needed other musicians to bounce off.

When you think back in history about producers and artists or writers who've had good synergy, a lot of times they date, or they're married, or there's a friendship and a kinship.

'Sorry' just fit the bill for the crossover that both Lost Stories and I were attempting to do musically.

For me, the conductor is a person who interprets along with me, and we interpret things together.

I love working with different artist with different styles and different producers with different sounds, creativity is everything.

So much of inspiration comes from collaboration with other musicians.

Two people making a beat is really like one person making a beat. But you have another person's brain. So what might sound good to you, they could flip it a different way. It's really a collaborative effort, really.

When you're working with a producer, there has to be chemistry.

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.

We've always said Psychic TV's music is the sum total of who's in it at the time.

I only want to write a song with the people who want to write a song with me.