A Quote by Charles Bradley
When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.
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When I Asked God for Strength He Gave Me Difficult Situations to Face When I Asked God for Brain & Brawn He Gave Me Puzzles in Life to Solve When I Asked God for Happiness He Showed Me Some Unhappy People When I Asked God for Wealth He Showed Me How to Work Hard When I Asked God for Favors He Showed Me Opportunities to Work Hard When I Asked God for Peace He Showed Me How to Help Others God Gave Me Nothing I Wanted He Gave Me Everything I Needed.
I knew how to sing in choirs and sing in church, but I didn't know how to sing in a studio. That's what Darlene and the Blossoms taught me to do - to be a studio singer.
I remember coming in to the studio and meeting Barry Manilow . I was kind of star-struck. He said, "I want to play you this song." We get to the end of the song and I hear him actually sing my name as part of the lyric. I had to pick my jaw up from the floor!
Dr. Dre, my oldest brother, he paved the way for me and Snoop to get a chance to get into the studio. I asked him to show me how to work the MPC-60... I was about maybe 17, 18, right around there.
Average Jones had come by his nickname inevitably. His parents had foredoomed him to it when they furnished him with the initials A. V. R. E. as preface to his birthright of J for Jones. His character apparently justified the chance concomitance. He was, so to speak, a composite photograph of any thousand well-conditioned, clean-living Americans between the ages of twenty-five and thirty.
Having Dierks Bentley on a song is one of the coolest things I've ever gotten to experience. For one, him agreeing to do a song with me but two, getting to share that moment in the studio.
Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him.
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
He happens to be my father and an incredible musician. When he gets lucky, we let him into the studio for 20 minutes to hear a song which has been previously written for him.
I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.
When you work with Drake, you don't really work with Drake. You send him the song, he rap on it, then y'all done worked together. So it ain't like me and him sitting in the studio.
I just want to be in the studio 24/7. Even if I'm not working on a song right then, just sit in the studio. That's what I love.
'Southern Accents,' I think that's one of my best, really. That would have been 1984, and I wrote that on the piano in the studio at home. I had a studio, and I just happened to be down there in the middle of the night. It was quite late, probably early morning, and I just started to play, and a song just started to appear.
I had a great moment with Michael Buble where I asked him if he could teach me to sing like him and he said why we don't sing together, so we did! It was great because my wife and children came to watch his performance.
One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.
What happened was I was a songwriter on Quincy Jones' publishing company, Qwest, for two and a half years before I gave him the song for Michael Jackson. He had a meeting with the songwriters. I think there were about six of us on the West Coast and we all had a meeting at his house where he sort of gave us an outline of what he wanted. To finish this BAD album Jones needed one more song to round out the album. I took notes and then I then took my notes to my writing partner Glen Ballard.
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