Ernest Dion Wilson Quotes
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I think that sometimes, as producers, we just service the artists who's really just the main front or person. You know, our roles are really just to help them get where they're supposed to go.
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The effect that 'Illmatic' had on us at that moment was serious.
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There's this concept in urban music and lifestyle that money is everything, and I'm just not with it. If it makes money, it doesn't make it good. If it's good, it's good.
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There's so many things that Kanye does that I agree with and disagree with at times. I just say, 'You're in a different place, and what you're doing is experimental. Nobody's been there in hip-hop.'
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I come from an era where you just build something. Me and Common built what we built from Chicago from scratch.
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I tried to embrace the concept of the sampler as an instrument, looking at how to take it artistically to another place where it can be appreciated, more than just taking someone's song and doing a 4-bar loop.
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I've won; I've lost. I'm at the point where I do what I believe in and, win or lose, believe in what I do.
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I come from a very specific love of hip-hop. I'm saying hip-hop, not rap. That's what saved my life. I carry that badge with a lot of pride and honor, and I really enjoy trying to raise the perception and the bar of what we do.
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I am the guy that, if you catch me saying something, I don't do the, 'Don't tell anybody I said it.' If I said it, I said it. I'm gonna stand right here and say it again to whoever - the end. What's the trouble? Where's the problem?
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'I Used To Love H.E.R.,' from a production standpoint, was a brainchild of the style I developed on 'Soul By The Pound.'
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I really like G-Herbo.
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Hit records create slang, and if you create slang, you get into a broader conversation level.
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There's not too many one-producer rap albums. There are lot of one-producer rock albums... and country albums.
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Sometimes I think albums are so ambitious, they don't stand as bodies of work because you try to achieve so much, and sometimes we need to do less. Say less.
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Trophies or no trophies, we are all just striving to do some really good art and help people's lives with it.
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I'm not here to put my music out on the Internet with no support and then say I got creative freedom. I've got creative freedom wherever I go: I don't create anything that I don't want to create. That's freedom. Since when does a company force you to make something that you don't want to make? If they do that, you leave.
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When I do music, I have a hard time experiencing it like everyone else, because there's so much thought that goes into it. You can sometimes fool yourself into thinking it's better than what it is, which stops me from being creative on the next thing I do.
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Don't ever judge anybody. You don't know who anybody is, period... You gotta humble yourself. Just because you are where you are, it doesn't mean you aren't talking to someone great.
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I have a Chicago personality, which means that just because I'm friends with one person, I don't assume I'm friends with his friends.
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Most of the greatest albums in the history of music are one producer. It's just a fact. Or one collective.
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After 'Resurrection,' I was getting calls for people to do work with me, and I was turning it down.
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For me, the '80s was great because you had Boy George, Michael Jackson, Stevie Wonder, Prince, and Cyndi Lauper. No one put boxes saying this is urban, this is popular, this is underground. It was just good or bad.
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When you do your art, and you may think people don't recognize it or appreciate it, you actually go and try to get better.
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My entire approach is built on the idea that things can be commercial and artistic.