A Quote by Paul Weller

I wanted to make a record that sounded like a continous piece — © Paul Weller
I wanted to make a record that sounded like a continous piece

Quote Topics

I wanted out of my record deal with EMI. They wanted me to record one type of album; I wanted to record the type of music I wanted to make.
I wanted to make a reggaeton record. So I sent the record to Ozuna, and he killed it. Then I felt like I wanted to add a more female vibe but still keep some Spanish touch, so I asked Selena and Cardi, and it all came together.
When I was 13 I'd record myself on my karaoke machine and if I didn't like it I'd record it again. I'd do that for hours, making sure each line sounded just right.
I wanted to make something that sounded very pure, organic, and personal. I wanted to make music that was timeless.
When I was coming up in Miami, the music in the city at the time sounded completely different. I loved it, but it just wasn't the type of music I wanted to make. I wanted my wordplay to be more sophisticated. I wanted the sound to be more lush. I wanted my music to sound like who I was and aspired to be - boss.
Isaac Smith sounded like Curtis Fuller, Corey Hogan sounded like Sonny Rollins, Terrace Martin sounded like Jackie McLean. Already, at 13, 14, 15 years old.
I just wanted to make a record that wasn't escapism. Like, I didn't want to write another record that was devoid of meaningful content.
I'd always wanted to make a record with Jim Dickinson, and I'd known about his boys for years, ... He reminded me that when they were 13 or 14 years old they had a punk rock band and I'd called him and wanted to make a record with them then.
I wanted to make an album that sounded like a release of inhibitions, really getting away from the idea that you have to be anything other than in that moment.
I wanted to make a record with a twist. I wanted to prove that you could make a record that concentrated on song craft but that was still fun, something you could listen to and love and even dance to, but not hate yourself in the morning. I think I did that. Most of my lyrics come from my own personal journals that I have kept over the years.
The first time I actually heard any of the Beatles' music it was in a car. I think it was the, the B side of their first record. I think it was "I Want to ... I Want to Hold Your Hand". And it, it really sounded different to me. And it sounded a bit like trouble, like this is something new 'cause I very rarely paid any attention to what anyone else was doing.
I just wanted to make more of a lifestyle record instead of anything else. I wasn't trying to do anything mainstream or nothing like that. I wanted to speak on this time period where I was fed up with a couple things and I had an idea of what I wanted to do.
I think that the most significant, guiding principle was that we wanted to return to a three-piece live form, whereas we became a four-piece for the last record because the songs had more extensive arrangements and we needed a keyboard player to pull off a lot of those songs. We missed the energy, and more push-and-pull of the three-piece.
With streaming services, the walls have come down a bit on genres. So I never really set out to make a country record or a pop record. I just wanted to make it mine.
I have always wanted some way that you could make a surface in a computer, like you pick up a piece of clay and make sculpture.
It sounded like a piece of blackboard being dragged over the nails of a wall of severed fingers.
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