A Quote by Rico Nasty
I don't know, whenever someone was like, 'Yeah, I'm going to the studio,' I just went with them. And I started recording.
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The first rap I recorded was on Jeezy's 'White Girl' beat. One of my partners invited me to his studio, so I go. I wasn't planning on recording, we were just messing around. And I started recording a song, just a freestyle. Back then, Jeezy was going so hard, that's what everyone was on. That's what me and my partners in the trap would listen to.
Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn't come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
Around when I turned 17 and I bought my own studio equipment and started recording myself, I kinda found my own voice. I just started rapping like my normal self and this happy guy.
My old man was a musician - that's what he did for a living. And like most fathers, occasionally he'd let me visit where he worked. So I started going to his recording studio, and I really dug it.
If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.
We with Michael Jackson were in the studio recording some work on "Man in the Mirror" or the duet. I can't remember which it was. We did the duet in three languages: English, French and Spanish. So, I spent like a week with him in the studio doing the three songs in different languages. It was just an awesome experience recording with him.
The minute we first started recording 'Defend Yourself,' I thought, 'Yeah. We're going to have to deal with a really terrible review from Pitchfork for this record.'
I started a recording studio. I started producing people and doing remixes.
My type is really young, short, athletic, and smart. I know, you want to be with someone who's going to be your friend - yeah, yeah, yeah. I want the Adonis line, the two down the hips to the waist. And a guy has to be able to accept criticism about his clothing. I can be very particular about what I like and don't like.
I started writing my own things when I was about 8. I used to try to bully my friends into imitating the Spice Girls on the playground. Then I realized, Oh god, my career's going nowhere, so I looked in the Yellow Pages and phoned up the first cheap studio that I found and started recording.
... with Voodoo Child somebody was filming when we started doing that. We did that about three times because they wanted to film us in the studio, to make us (imitates a pompous voice) 'make it look like you're recording boys' - one of them scenes, you know, so okey, let's play this and then we went into Voodoo Child
I really just like making music. People call that 'work.' Like, 'Oh, you're going to the studio to work?' No, that's even what I do in my off day. I love recording.
I have such memories; I keep thinking about all the people I worked with. I was in the recording studio and I was talking to one of the engineers who is 24 and they don't know these people. They just absolutely don't know the people and it just tickles me. I don't feel like I've grown up.
Billie doesn't actually like recording sessions at all. We like making music together. She doesn't like going to some big studio and having them pretend to be a therapist for a couple hours. So by default, we always make the good stuff together.
And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.
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