A Quote by Talib Kweli

I listened to a mind joint, and I wanted to do my own version of it, and what you hear on my mixtape is my take on what the whole CD sounds like. — © Talib Kweli
I listened to a mind joint, and I wanted to do my own version of it, and what you hear on my mixtape is my take on what the whole CD sounds like.
I never wanted to do the mixtape circuit and 300,000 people hear it and that's a chapter of my life and when I do another album I'm coming off of that chapter but the whole world didn't hear that chapter so it's like I would have to start over.
I do hear snippets on the radio. I do hear a little bit of me, sometimes great chunks of me. But I have to take that as a compliment; there's no way you can get sour grapes about that. But if somebody starts taking your whole new thing lock, stock, and barrel, and do their own version of it before you do it, that's not on.
I think that if you are sticking to the text, essentially, you're not trying to write your own version of it. I mean, of course, it is your own version of it. And every translator would probably have a different version. But I think that that's what keeps the writers from being individual in English. They may be my English, but I don't think that Ferrante sounds like Levi.
It sounds a little cliché, but I wanted to capture some of the feelings or sounds that I heard when I listened to music that actually took me places.
All I had was a CD with beats. I wrote to every beat on that CD, and when I got off punishment, I put out my first mixtape. I passed it out all around school. I started going to the studio. I started doing shows.
I think that Ronald Reagan wanted to hear other people's views, and he always listened carefully, and from time to time he changed his own mind about a position. And especially he took pains to listen carefully to foreign leaders with whom he was dealing.
Before I had my daughter I actually wanted to do something that I could put out for free, like a mixtape, but it wasn't going to really be a mixtape, it was just going to be songs that I wrote and release for free.
The older I get, the more I think it's this listening. You listen for it, and you have a bit of patience. And it'll come until it sounds - to me, the best songs I've written, I think, are ones that I can't hear anything - any of myself in it. It sounds like a cover song, like somebody else's song - really something you've stolen wholesale off a radio that you've listened to in someone else's flat.
Several people inspired me like Lil' Wayne, Juvenile, the whole Cash Money camp, the No Limit camp, DMX, Jay-Z, Eminem, LL Cool J, I listened to all type of sh*t. I listened to R&B like Teena Marie, just good music - anybody that made good music. When I was growing up out west I listened to Twista, Do or Die, and Crucial Conflict. They were the "it" artists in Chicago. I wanted to be like them on TV and all of that so that's how it all started.
After watching a couple of live performances of bands like Nirvana, I was really excited and inspired by how raw and powerful it was. I wanted to at least aim in that direction with the guitar and do my own version of it. I know it doesn't really sound like that on the other end, but I wanted guitar, heavy rhythms, and singing to be the stamp of the whole thing.
Most people don't take some things into consideration. When they hear an album, they hear the artist or they hear the lyric or they hear the melody. But they don't really think about the environment in which it was recorded, which is so important. It's that thing that determines what the album sounds like.
Do you really think he was flirting with me?" "Let's see. He gave you candy you hate - I saw your face - and a CD of songs..." He looks at the CD. "All of these are, like, twenty years old at least. Figures. Oh, and he groped your face. Sounds like true love to me.
In 1990 if you heard a song on the radio and you really wanted to hear it again you'd have to buy it on tape or CD. Hearing music doesn't hold that kind of value anymore because anyone can hear it. It's going to become even easier.
Rhythms and sounds are often the first thing I hear and want in a poem, so I can't imagine trying to translate something without at least being able to hear what it sounds like.
We owned the mixtape game, and every mixtape we put out was like an album.
We listened to 'Beverly Hills.' I wanted to maybe even do a real 'Africa'-type version of that, I was thinking about for a minute.
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