The local music community here was dying for a place to record, so we started doing acoustic, folk and bluegrass and then did rock projects for other bands, as well as for my son Tal and my own work.
Everyone's talking about how no one is buying records any more, but to me it's quite logical. In the 1990s, music was so hardcore-marketed to a certain group of people that I think a lot of kids felt taken advantage of.
I like to find music that shares a rhythm with the sentences I'm working on. And though I'll probably regret saying this, I think some songs actually don't sound too bad when they're played through lousy speakers.
Unfortunately, the young generation, who I believe have their own place in the sun like I had mine; but I wish it was possible there were other ways to have them understand this music was here before they came, and the reason that it was here.
I know some people will be surprised to hear it, but I've found that my music, whether its blues or rock, or whatever you want to call it, can be channeled into a positive direction that actually helps people.
I like listening to old soul music. I like Sam Cooke. When I was growing up, the first things I was listening to was Whitney Houston and Cher. They were really big inspirations for me.
When I write songs, it's very random. I get influenced by the most random things! Sometimes it just comes to me in my sleep or just hanging out in a restaurant or something. Music just comes to me, and I'll start writing from there.
I try to get the hip-hop aesthetic, most times without an MC. I don't use a rapper or a DJ to give it the hip-hop style; it's strictly the band that makes that music, which is a lot harder to do.
I've been playing music for over 20 years now. I started playing when I was 14 years old. To everyone who has said I was an overnight success... where have you been the last 20 years?
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.
R. Kelly is an image, a brand. That's my job. There's a whole other side of me that's Robert, who is a father, a friend. But then I put on the game face and go into the studio and do the music. That's just another day at the office.
You know, as you compose music, you're just off in your own world. You have no idea where reality is, so to have an idea of what people think is pretty hard.
You can see it on the Internet: There's an argument going on continually about, 'What is folk music?' And I don't really want to get involved in that. It's an endless argument, a 'How many angels can dance on the head of a pin?' kind of argument.
When The Byrds started country-rock, we had no idea there would be such a thing. We were just trying to honor the music. We started listening to country radio. We went to Nudie's and got cowboy clothes.
It was very satisfying knowing I could come in not really knowing what I was going to do, and at the end of the session feeling that I'd really done interesting guitar work and knowing that I'd really contributed to the music.
I've been wanting to go into music ever since I can remember. I mean even before I became an actor. I just thought it would be a tough field to break into, so I became an actor instead.
I loved the music, but the excesses of rock n' roll never really appealed to me at all. I couldn't see the point of getting up in front of a lot of people when you weren't in control of your wits.
I follow a simple formula when I compose. I ask myself, 'What would the audience want to hear?' and 'Why would they buy my CDs?' And the process of answering these questions through music follows. Sometimes, it works. Sometimes, it backfires.
I was the only punk rocker at my high school. And there were at least a handful of black kids who liked hip-hop. Both were kind of the new music of the day, and it was lonely being the only punk.
My mother told me when I was a toddler and in the crib that they would have music playing, and the thing when I lit up was boogie-woogie or something out of the Louie Jordan period of sometimes big bands, and then all kinds of things.
My brother had a house in Paris. To it came many Western classical musicians. These musicians all made the same point: 'Indian music,' they said, 'is beautiful when we hear it with the dancers. On its own, it is repetitious and monotonous.'
