Music Producers From The United Kingdom

"There is no such thing as making a mistake. Only one thing is compulsory, only one mistake: and that is not realizing your mistakes."

"We are able to be with others only to the degree that we are able to be ourselves. This being so, we can only be in the performance to the degree that we can be ourselves: to be who we are."

"A mistake is always forgivable, rarely excusable, and never acceptable."

"Me and a book is a party. Me and a book and a cup of coffee is an orgy."

"You see, the thing is, I’ve been in jams like this. The feeling is totally there among the musicians (and whoever else happens to be sitting around, whether they’ve paid for it or not, probably, and preferably, not). You are close to silence, Silence with a capital S. You are in tune with silence, the deepest sound of them all. Every sound, therefore, that you make, make with intention, sensitivity, and awareness, has a meaning, an ineffability, a significance. You are listening, Listening with a capital L. You hear what everyone else is doing; you do whatever is necessary, which is usually as little as possible. It has nothing to do with self-expression: it has to do with a group mind."

"We begin with the possible, and move gradually towards the impossible."

"Creative work is serious play."

"Act with courtesy - Otherwise, be polite, but always be kind."

"If we don’t know where we’re going, we’ll probably get there; if where we are going is how we get there, we are already where we are going."

"With a note of music, one strikes the fundamental, and, in addition to the root note, other notes are generated: these are called the harmonic series...As one fundamental note contains within it other notes in the octave, two fundamentals produce a remarkable array of harmonics, and the number of possible combinations between all the notes increases phenomenally. With a triad, affairs stand a good chance of getting severely out of hand..."

"It is difficult to exaggerate the power of habit."

"Normality is what we might achieve, given who we are, what we are, the conditions and limitations of the world we work within."

"The musician is as rich as the music they give away."

"Music is the cup which holds the wine of silence. Sound is that cup, but empty. Noise is that cup, but broken."

"I woke at 9:57 having got to bed at 6:30 subsequent to spraying burning guitar over David Bowie's new album and not leaving the studio until 5:00."

"Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable [sic] as it is interesting."

"As struggles go, being an artist isn't that much of one."

"At the party, Rob Partridge said to me, "You gave hope to other balding men." My new epitaph: "Co-wrote a couple of decent songs and went bald shamelessly.""

"My friend Peter Schmidt used to talk about ‘not doing the things that nobody had ever thought of not doing’, which is an inverse process – where you leave out an assumption that everybody has always made and see what happens (e.g. music has to be made of intentionally produced sounds was the assumption that Cage left out). In that version of this process, you discover a value in the absence of something ­– in fact you discover that the absence of something is the revelation of something else (Buñuel, the film-maker, said, "Every object conceals another" – a message that I often relay in the studio when overdubbing starts)."

"Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process."

"Try to make things that can become better in other people’s minds than they were in yours."

"If you don’t call it art, you’re likely to get a better result."

"The only value of ideology is to stop things becoming showbiz."

"A way to make new music is to imagine looking back at the past from a future and imagine music that could have existed but didn't. Like East African free jazz, which as far as I know does not exist. To some extent, this was how ambient music emerged. My interest in making music has been to create something that does not exist that I would like to listen to, not because I wanted a job as a musician. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist. It's like having a ready-made formula if you are able to read it. One of the innovations of ambient music was leaving out the idea that there should be melody or words or a beat… so in a way that was music designed by leaving things out – that can be a form of innovation, knowing what to leave out. All the signs were in the air all around with ambient music in the mid 1970s, and other people were doing a similar thing. I just gave it a name. Which is exactly what it needed. A name. A name. Giving something a name can be just the same as inventing it. By naming something you create a difference. You say that this is now real."

"Ideas worth questioning: "Being an artist is a job for life.""

"Saying that cultural objects have value is like saying that telephones have conversations."

"I, I wish you could swim Like the dolphins Like dolphins can swim Though nothing, nothing will keep us together We can beat them, forever and ever Oh, we can be heroes just for one day."

"When you see people like Ken Loach, David Miller, Jackie Walker, when you see those people being accused of antisemitism, you cannot help but say this is all made up."

"The reason conservatives cohere and radicals fight: everyone agrees about fears, no one about visions."

"I’d got all this new technology and we spent a year making the album, programming all these primitive computers. [The LinnDrum] sounded so much like real drums it was difficult to tell it apart. The tempo was absolutely precise because it all ran to a digital clock and the record just was precision itself. It was also very simple. If you actually analyse what was going on at any given moment in time there may be only four or five things going on, but it does the job.""

"In [the early 1980s], making electronic music was a big job, particularly the way that I was doing it. To get the sounds I wanted, I might have 24 synthesizers playing one synth line, all programmed, all analogue and all drifting out of tune. It used to take hours and hours and hours. I don't know how we ever got through it."

"I programmed all the drums and synths, while he played all the guitars. The initial plan was just to demo his songs because he was out of his UA deal, so we pumped it to people like Island and Virgin and they loved it. It was signed to Island, but Simon Draper of Virgin heard it and called me to talk about their band, the Human League. They'd done demos of The Sound of the Crowd and Love Action in a Sheffield studio, but Simon didn't think they were getting the punch they needed. He loved the drums on Homosapien and asked me to do a track. So the band turned up at Genetic with their multi-track for The Sound of the Crowd. Simon had conned them and told them that I'd mix it! I said, 'We're going to start again and do it better'. There were a few grumbles, but by the time we'd finished, they were really pleased."

""We were just making a record and suddenly it just exploded all over the world and has since become a legendary record. It’s just mad! If somebody had told me then ‘Do you realise that you are making history with this record?’ I’d have said, ‘Yeah alright, calm down and have a cup of tea’."

"He chased us all round the studio and we had to lock ourselves into another studio to prevent him getting us. He was a big guy. He came in the following morning and he was alright. I think his management had had a word and said, ‘Look this album is going really well, it’s not a good idea to frighten the life out of people who are helping you make it’. He was quite pleasant, but he never apologised."

"They came up and we did Sound Of The Crowd. They were under the impression that I was going to work on what they’d done so far and improve that and carry on. I said, ‘No, I’m not doing that, we’re starting again’, which was a bit of a shock for Phil. He argued about that but I said, ‘No, if I’m going to produce you, you’re going to do what I tell you to do. I will listen to your arguments and consider them, and if I still think I’m right we do it my way or it’s the highway. This is my attitude to everybody I produce, it’s a sort of democratic dictatorship!""

"It filled me with dread – she had a reputation for being difficult. She had been headlining on the Royal Command performance the night before we were due to start. She arrived and swept through reception looking like thunder and disappeared into the studio. I thought, ‘I’m the first here, I’d better go in and introduce myself’. I walked in and I said: ‘Morning Miss Bassey, my name is Martin Rushent and I’m going to be your new engineer and co-producer’. She threw a mic stand at me. She told me to get out. She apologised afterwards, I hasten to add."

"He was an extraordinary bloke. First of all he was very funny. He was straight but very camp. [He] came in and Visconte said, ‘Right, what are we doing?’. He said: ‘Well I haven’t got any material, I’ve just got one guitar riff’. So he played us this guitar riff. It sounded a bit like Chuck Berry to me but I didn’t say anything. He went out with the band and after two hours he said, ‘Right, got a song’. So we recorded it and took a few takes. He then said, ‘Right I’ve got a bit of a tune, just give me half an hour’. In 10 minutes he came back and said, ‘Right I’ve got the lyrics and got the tune’. So he’d written Get It On in 10 minutes basically. He went out there, sang it and in four or five takes we’d got it. There it was. The guy was absolutely astonishing.""

"While the children laughed I was always afraid Of the smile of the clown So I close my eyes Till I can't see the light And I hide from the sound We're two of a kind Silence and I We need a chance to talk things over Two of a kind Silence and I"

"Time, flowing like a river Time, beckoning me Who knows when we shall meet again If ever But time Keeps flowing like a river To the sea"

"I knew the bride when she used to rock and roll."

"And so it goes and so it goes But where it's goin' no one knows."

"I pick myself up off the ground to have you knock me back down Again and again and when I ask you to explain You say, you've got to be... Cruel to be kind in the right measure Cruel to be kind it's a very good sign Cruel to be kind means that I love you Baby, you got to be cruel, you got to be cruel to be kind."

"So where are the strong And who are the trusted? And where is the harmony? Sweet harmony — 'cause each time I feel it slippin away, it just makes me wanna cry: What's so funny 'bout Peace, Love, and Understanding?"

"Even if I was really prolific — which I'm not — I think I'd always put at least a couple of covers on my record. I think it's a sort of healthy thing to do. It shows that you're not totally self-obsessed."

"As I walk through This wicked world Searchin' for light in the darkness of insanity, I ask myself Is all hope lost? Is there only pain and hatred, and misery? And each time I feel like this inside, Theres one thing I wanna know: What's so funny 'bout Peace, Love, and Understanding?"

"I've always felt quite like an outsider. I don't really belong in the mainstream, and I quite like that."

"You know, the actual punk music, I didn't care for at all. I thought it was all rubbish, really. It was the attitude, the way that things were being shaken up, that excited me more. I still liked people who were good, you know? Who could actually play. Even though The Damned were a punk group, they played great. As did Elvis, and as did Ian. They were the ones who interested me. Not some of those daft punkers, especially the ones who had people who were actually pretty good musicians sort of pretending to play badly. That was just so stupid, and missed the point completely, I thought. So it was the people who were true to themselves, I think, that were the exciting ones."

"A church full of singing, out of tune Everyone's gone to the moon"

"You see a long time ago life had begun Everyone went to the sun"

"Birkenstock desert boots have been a part of pop culture since the beatniks. I made such a fuzz about them being discontinued that the company send me an "lifetime supply", which initially turned out to be seven pairs at two years apiece. They weren’t giving me very long. I think that’s why I gave up smoking."