A Quote by Sheck Wes
I pick simple beats because I need space for me to work.
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Timbaland was crazy to work with. When he stepped in the studio, it was like working with Morpheus from 'The Matrix' - he stepped in with three beats and said, 'Pick one.' They all sounded crazy, but I could only pick one. I picked one and he hooked me up.
The simplest beats, on what rock music or any music has been formed on, can be the toughest beats to execute and perform, because it's really easy to not respect a simple 4/4 beat, because people always want to play fast.
It's like everything in football - and life. You need to look, you need to think, you need to move, you need to find space, you need to help others. It's very simple in the end.
What empowers me in my daily work and life is the knowledge that I will be guided, if I let go of my need to control. That I need only to leave space for grace to work in me.
I don't shop beats. That was never my method coming up. I think it's very strange to have a CD of 30 or 40 beats and then just pick one.
For some reason, I deliberately allow for simple things like three chords to mystify me. It's kind of fun that way. Like Billy Gibbons' guitar sound isn't the way it is because he uses a quarter as a pick or anything as simple as that; it's because he's in touch with a different sector of the cosmos that we know nothing about.
A lot of people just send me beats, and I pick the ones I like. See, once I said I was doing my album - because I know everybody and they mama - everybody just got in touch with me.
I used to work as a private detective years and years ago. And my boss gave me this one very simple piece of advice about trying to figure out who to interview first in any investigation. His recommendation: Always pick the people who were fired. Pick the people who are pissed off.
I really didn't even pick producers. I just picked beats, except for Dre - he's the only producer I knew I wanted to work with.
The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.
I was joked by a lot of older musicians because I was playing saxophone over trap beats or future bounce beats, and it just wasn't what you do. They were just like play some John Coltrane and get in the corner. But that's just not how I work.
Governor Gray Davis has asked the California state Supreme Court to delay the October recall vote because he says that's not enough time to put on a fair election. Hey, let me tell you something. If we didn't need a fair election to pick the president of the United States, we don't need a fair election to pick the governor of California.
It's really important to me that my sound is a combination of beats and melody. I love hearing strong, confident beats in music because I love to dance. At the same time, melody is really important to me because I love singing.
My advice always is to start very simple and master your timing and master the most simple beats that you can, and you just keep elevating from that. Trying to go right into playing fast is not necessarily the best way to go about it, because if you don't have your foundation locked in, it's hard to progress.
Asian players are very eager to work hard, but they don't have the physicality of the Europeans, so they might actually need to work twice as hard. With street football, their skills will improve a lot, and so will their tactical awareness, because by playing within a limited space, you need to be very focused on your game.
'I need milk' and 'I need to decide whether to buy this company' both tie up space in psychic RAM. The solution is simple. Write it down. Look at it. Do it or say to yourself 'not now'.
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