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It's a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that's a good thing.

I think it's being innovative and very creative to stay away from flat-out sampling somebody else's record. To me, that doesn't show too much of your creative side unless you take a little piece and add it, almost like spice on a chicken.

Sometimes you make a record that is what you want to hear. I've made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.

Some amazing records have this power to leave you with inspiration; you're left with the urge to write something. And some records are totally overwhelming, because they are so good, they burn the bridges behind them.

People are really set in their ways in how they produce records, and I was at least open enough to where I knew I wanted to do something totally different.

I think that it can be said of a lot of artists, and myself included, that we made the same record over and over from the beginning.

Records are just moments of achievement. They're like receipts for work done. Time goes on and people keep playing music.

You have all these song titles and song time, and you put it in a certain order, and you slap a cover on it. That's a record. That's how I've seen all my records.

There are a lot of producers who basically have their sound, and if the artist works with them, you almost know what the record's going to sound like before it comes out.