A Quote by Rakim

Once I get the track I know what to do with it. — © Rakim
Once I get the track I know what to do with it.

Quote Topics

I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging ... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
I study my competition for at least an hour a day. I get on the Internet, I look at what they doing, and then I look at ways to defeat them. I know their mixtapes track-by-track. I know some of their lyrics.
Every once a week, I get up and feel that I cannot act any more. I just get very unsure of myself. But, once I give my first shot, I'm back on track. Insecurity isn't bad, it makes me work harder.
If you listen to the left track on their album, if you get The Best of the Mamas and Papas, you listen to the left track, you can still hear a little bit of my voice. My son discovered that once.
When Nas and AZ send you a track, you know it is serious business. Same with Styles P and Jadakiss - then it is serious business. But when you get a trap music track, you know it's time to dumb it down.
In track years... track is not like other sports. You do have track athletes that stay in this sport until, like, 35, 36, but I think when you get to 28, it's really difficult.
Dave Sim said in his latest thing of his, 'when you're on the right track, you'll know it, but until you get there, you have to believe you're on the right track'. Interesting little conundrum. It's not easy.
It changes from track-to-track, but when you are behind someone, you know after a few laps where they are weaker and stronger around the lap. You try to position yourself in the best possible way to attack them at a point they don't expect or at the point that they are just not as strong as you. That's how you try to get past.
I get nostalgic for things that didn't really exist. I might have a cassette from the first time a Melle Mel track, say, got played on radio in Manchester. And it might be a copy of a copy of a copy of a tape and there's all these weird nuances and distortions that have affected what I know as the truth, if you like, of that track.
Sometimes you have to get off track to discover a better track
I never write a song before I get the track because I just feel that I have to make a marriage with that track with my raps. And if it's something that's already there, it ain't gone really fit, I don't think.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
The first track is the end of a string. At the far end, a being is moving; a mystery, dropping a hint about itself every so many feet, telling you more about itself until you can almost see it, even before you come to it. The mystery reveals itself slowly, track by track, giving its genealogy early to coax you in. Further on, it will tell you the intimate details of its life and work, until you know the maker of the track like a lifelong friend.
I don't know of any other driver on the track that doesn't get hot under the collar.
I mean, you've kind of got the track down, especially with ovals. The only thing that improves is that when race conditions come, you know what to expect slightly more from the track and from your car.
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