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Recording in Jamaica is like nothing else. The studios are always closed in America. But in Jamaica, the studio doors are wide open, and there's music blasting out in the street. You can see the reaction of people immediately.

Records were vitally important to the development of music and of all music cultures. With that being pushed by the wayside, I can't see an iPod uniting us. In fact it separates us, the streets are full of people bumping into lamp posts, listening to their own little universe, and there's no sharing in that.

The invention of the iPod changes how you use music. Suddenly you have music everywhere.

To me, our music is like Jamaican stuff - if they can't hear it, they're not supposed to hear it. It's not for them if they can't understand it.

In Jamaica, them always have throwback riddims, recycled old beats, and the hardcore reggae scene is always present. You have faster stuff like the more commercialized stuff, but you always have that segment of music that is always from the core, from the original root of it.

When you're in Jamaica, unless you're in a tourist spot, you don't hear Bob Marley; you mostly hear dance hall music.

The music that I represent and helped to create and establish was born in Jamaica.

I don't have an iPod. I don't get the whole iPod thing. Who has time to listen to that much music? If I had one, it would probably have Sinatra, Beatles, some '70s music, some '80s music, and that's it.

The thing about places like Trinidad and Jamaica is that they can be very musically insular. There isn't much space for kids making hip-hop, electronic music, or hybrid genres.

Every musician tries to blend in some reggae. It's the only music that brings all people together, different races, different religions.