Innovative Production Quotes

I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What's the point?

I can put a hip-hop beat to reggae. That is, I can have real reggae in the drums and in the rhythm, and on top of it I can put The Rolling Stones' feeling, anyone's feeling on top. Nobody has ever done this before, man.

Along with its enchanting and exquisite melodies, West Side Story has attitude and a tremendous amount of frenetic energy. It's emotional, theatrical and technical. It's everything.

How many chances to you get to make a musical about a serial killer? The minute Tim Burton approached me, I was in.

The genuine creator creates something that has a life of its own, something that can exist and function without him. This is true not only of the writer, artist and scientist, but of creators in other fields.With the noncreative it is the other way around: in whatever they do, they arrange things so that they themselves become indispensable.

When I'm making the music, I feel like everything I throw out has to work. It counts. Because if you don't have people turning they neck all the way around to see what it is, it ain't stick on the wall.

Well, 'Crunk Rock' doesn't mean rock. Initially when I started the album, I did collaborate with a bunch of rock musicians and producers. But as I started to have time to free my mind and catch different vibes, it started to mean something different.

Making the 'Sulfur' video continued our quest to make a video different and visually stimulating.

Some of the greatest hip-hop artists have incorporated elements from electronic shows into their setup. People are taking notice. It's going to be a new wave.

Tightly embracing guitar effects and tape loops, Mission of Burma made sound an important commodity in rock 'n' roll, and its members carried that tradition into their first album after a 19-year hiatus, 2004's 'ONoffON.'

I'd like to do a completely off-the-wall collaboration. I would like one of my songs to be the hook to a rap song. That would be so much fun!

You can't have 12 records on your album and none of them sound alike. You gotta kind of have something to make them say, 'That sounds like Rakim.'

You've got to put interesting people around you; you've got to work with people who are gonna inspire you to take the songs you've written into a completely different direction, because there's nothing more boring than going to the studio and predictably knowing what is going to happen.

Just as the Japanese pioneered a new form of manufacturing - lean production and quite new standards of reliability - so Tata, too, is embracing new forms of manufacture in order to revolutionise the price to meet the consumer needs of a poor, developing country.

Low' was probably the album that influenced me more than any other, because of how it combined humor and impressive, glamorous, driving energy with this totally surreal soundscape production.

Every Dirty Projectors album is a world unto itself.

Theirs [the Beatles] is a happy, cocky, belligerently resourceless brand of harmonic primitivism... In the Liverpudlian repertoire, the indulged amateurishness of the musical material, though closely rivaled by the indifference of the performing style, is actually surpassed only by the ineptitude of the studio production method. (Strawberry Fields suggests a chance encounter at a mountain wedding between Claudio Monteverdi and a jug band.)

'The 24 Hour Plays' is a quite brilliant, exhilarating event for everyone concerned.

'Maxim's' was supposed to be on 'Ekstasis,' but it was very much in its own world.

Leading into 'The Hurting,' what changed our view of music was Gary Numan.

What I do is I basically make records to please myself first and foremost, and so one of the most important things for me as a musician and a writer and a producer is to feel like there's always a sense of evolution and reinvention with each record.

What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams - I would make one group which would be a combination of, say, Parliament and Kraftwerk - put those two together and say, "Make a record." Something that would be an extraordinary combination: the weird physical feeling of Parliament with this strange, rigid stuff over the top of it.

I feel like with '2.5,' I created another style that nobody else is coming with.

Some new machinery with adequate powers must be created now if our fine phrases and noble sentiments are to have substance and meaning for our children.

I am trying to change hip-hop music because I do feel there are places people can go with production and the structure of an album that they haven't gone yet. But, like I said, I don't have any delusions of grandeur. I just want to make music that doesn't make me bored.