A Quote by Stanley Clarke
Surrounding myself with people I enjoy being with made the sessions effortless. Everyone came prepared and ready to play. All were great musicians and they came to the studio to give everything they had.
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A lot of luck, and being prepared when the opportunity came. There are talented individuals out there who didn't get the break that I got. Or when the break came, they weren't ready for it.
We came to enjoy; we are being enjoyed. We came to rule; we are being ruled. We came to work; we are being worked. All the time, we find that. And this comes into every detail of our life.
I was fooling everyone by surrounding myself with funny people. But then I put myself out there - writing my own sketches, going on stage with nobody surrounding me - and for some reason people were still laughing.
Coming here, I sharpened and fine-tuned everything I had and needed. What I thought of as myself as a performer, I looked back and was like, ‘Wow, I improved from where I was.’ I thought I was ready and then saw the improvements I made which were unbelievable. It makes the transition from down here to up there (the WWE roster) so much easier because you’re prepared for what they need you to do. It’s not like you’re jumping into a whole other world. You’re prepared for what they need.
As an artist, I feel so fortunate to be able to learn from all these great musicians that came before me, when some people have nobody that came before them.
I'd have to say that "Mr. Crowley" in my most memorable solo... I had spent hours trying to figure out a solo for the song ... Ozzy came in and said "it's crap - everything you're playing is crap" .. he told me to get in there and just play how I felt. He made me really nervous, so I just played anything. When I came back to listen to it, he said it was great.
My brother had a house in Paris. To it came many Western classical musicians. These musicians all made the same point: 'Indian music,' they said, 'is beautiful when we hear it with the dancers. On its own, it is repetitious and monotonous.'
After getting off Bad Boy and then finally getting on with the Ruff Ryders/Interscope deal, it was like being able to exhale. The studio sessions were a lot different than the Bad Boy studio sessions. Like, we were able to just do anything we want.
Everything really came together on '1992.' That isn't to dismiss my earlier works - they were great - but when I focused myself on hip-hop everything just clicked.
I remember my last game for Newcastle in the pre-season, when their fans were singing that they wanted me to stay, but when the opportunity came to play for a great club like Liverpool with such a great history, I had to take it. I hope they understand why I made that choice to go to Liverpool.
When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.
I don't really consider myself an immigrant, because I was born French; I have always spoken the language. I never had the feeling of being a foreigner. I was very lucky: I came to France, and I had enough money to study and to rent a studio. So, for me, it was not difficult.
I was off the scene for a while during the ska period and when I returned and joined the Treasure Isle studio, I came there with a different mood. The musicians picked up on that and we kept on going in that direction. The music became slower, which gave the bass player the time to play more notes. In 1965 I named it rocksteady. The first rocksteady song was 'Girl I've Got A Date'. That one was still a bit up-tempo, leaning towards ska. It turned the tide and made Treasure Isle the number one studio.
Sometimes I wonder if I shouldn't leaving being musician because I use to like it when noone came to see me playing, because I didn't feel any pressure. I can enjoy myself and probably play better. Sometimes when I play, people expect something of me, and I'm not always able to to that. Quite often. So I get totaly nervous
When I was starting, I was working with actors who came up through the rep system, and they understood the discipline required: you were never late for rehearsal, you were never not ready to go on, you were always prepared; it was about showing respect to the rest of the company.
I organise jam sessions every month. We have an open session, so everyone knows about it, and we can get as many as 30 people showing up at the house. Somebody will play a tune, and everyone will pick up on it. My best friends are all musicians.
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