It's not fake. I don't need to go in the studio, throw in a record, do a loop and put it out. To find an artist, you've gotta find the artist that brings it to you. There has to be a 50/50 balance.

I went in to record the Philharmonic. I wrote down the parts, and I was inside the studio with 62 pieces outside the studio. They never saw my face or what I looked like.

When you throw on a Bob Marley record, it's nothing but lighters up in the air. All the thugs in the dance are just going calm down. I don't know no other artist that you can throw in the middle of a dance like that.

This is a loop. All he's saying on this record, the vocalist, is, 'Are you there, are you there,' which we've heard all the time on the phone machines.

When I think about the biggest studios in New York, they're owned by people that are not musicians or artists, and artists come in and spend their money there, and they'd rather do that, as opposed to getting the headache. So they pay someone else to get the headache.

I lived in the projects and the ghetto, and turned the negative into a positive.