When my nephew was 3 and 4, he would say the most genius things. He said, You're hammer macho with FBI dogs. I thought it was just one of those great lines.
I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.
When you work with somebody for a long period of time, you develop a shorthand with everything.
In the past it seemed like I was making fun of rap a little bit. But it was more me making fun of myself, since I'm not technically a rapper, whatever that means.
We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.
Two men look out the same prison bars; one sees mud and the other stars.
Tonight the city is full of morgues, and all the toilets are overflowing. There's shopping malls coming out of the walls, as we walk out among the manure. That's why I pay no mind.
There's some quality you get when you're not totally comfortable. When you're not doing what you're used to, you could completely fall on your face. You could completely blow it.
There's never any pressure on the music having to be something.
You have to shelve a lot of your inspiration. There's only so much you can do with one record.
In the studio, I'm always throwing people on different instruments.
No one should drive a hard bargain with an artist.
Sometimes things in life take a few years to digest, and they find their way into the work later on. Sometimes I'm writing about things from eight years ago-they just took a long time to distill and come out in the appropriate way.
The years keep going by and you realize, Wow. Doing these records is such a process: going on tour for a year and a half, then you get home and you want to do other things.
There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.