Music Producers From The United Kingdom

"Standing in the light till it's over, out of our minds Someone had to draw a line We'll be coming back for you one day We'll be coming back for you one day"

"How could I forget the day we met I had to date you, A couple months we were in love... Like Ross and Rachel, It went deranged, and then the chains... To leave, I hate you, It was kinda like that film where the Attraction's Fatal. You smash a plate, I slam the gate, (Yeah!, yeah!) You get irate, I turn up late, (We stuff our ammo) You scream and shout, I lock you out, (Who's in trouble now?) We call a truce and then we're back where we started. It's all good when we're on our best behaviour When the will turns sour it's like a scene out of Braveheart, Dark like Darth Vader, But still I love her, We fight, but there's light at the end of the tunnel."

"To-ing fro-ing never knowing if I'm coming or I'm going living in the fast lane but our heartbeat's slowing"

"If only I had a Ferrari Then I'd be a Ken doll and she'd be Barbie We could ride together with the roof rolled down With the whole town jealous of my girl and my fast car"

"And it goes and it goes And it goes and it goes I got ten bags of funds, some rum and some dubstep Head off into the sunset, one step ahead of the game They've been attacking my brain, they ain't done yet Count to 100, open my eyes and it's fine again No sign of them, back in the open I'm hoping I'm reaching utopia Coping without her but it's all for the best No mess, let me digress One day soon, find room in my head to let another special person fully immerse themselves And we'll merge our worlds so perfectly This is paradise, certainly"

"Throw your stones (Wo-oh-oh-ohhh) We can hold our own (Wo-oh-oh-ohhh) I don't need no microphone"

"Maybe we should take another roll of the dice Can't believe we both let it fade away I want to stay for another day If you want to save us, give me a signal, anything will do"

"I don't know why it happened so fast When I tried to speak your language I'm happy you laughed 'cause I'm hardly a linguist spoke through kisses cos you didn't speak English and it was hard to distinguish love at first sight or holiday romance? Don't care, I was lost in the moment I really should'a missed that flight"

"Two lives, living two lives I don't know which side of me is where the truth lies I'm living two lives, living two lives I got two sides of me try'n'a do right I got one on each shoulder both saying "I told ya" One is saying "Go" and the other's saying "No, no, no.""

"Time might fly girls may cry lights may die but the skies don't lie It'll all make perfect sense if you follow me Come follow me now"

"Start to think it could be fizzling out Kinda shocked because I never really had any doubts Look into your eyes, imagine life without ya And the love kick starts again"

"If only I could fly away Revel in the moonlight Try to find a good life Find a way to break the chains Find a way to break the chains Struggle just to hear the call It's easy now, easy now Heaven is a mile away I'll burn it all and leave today"

"One’s life is one’s faith when you commit your life to Christ, if you really want to be a Christian it will cost you your life. I learned that from a man who wrote books."

"I don’t think schools are the best way to teach children. Schools should be for fish, not human beings."

"I only arrived in the world in 1988, by which point you were already seeing many of the great things happen and by the time I started going clubbing it was all about jungle It was great fun, but a hostile environment. It wasn’t a place for a gangly, 6-foot-5-inch, mousy-haired, scarf-wearing twat like myself. More a place go and do shed loads of cocaine and try and start a fight. But I loved the sound system. The culture of taking sound systems around really interested me, and when dubstep broke, that was it."

"I would be spooning my 6'8" boyfriend. I'm the big spoon, obviously. He'll love that I said that."

"If a woman [has] shared her body with me, why can I not speak of my experience?...It’s not me casting a judgment on someone, it’s something that has happened. You can rap about whatever the hell you wanna rap about – that’s why we’re rappers. You can have an opinion against it but you can’t tell me not to do it. At the end of the day, that’s the way it is."

"It’s like when footballers run underwater in water tanks…There’s a high pressure against your body. If you can run fast in a water tank, when they take you out of the water, you can run way faster because there’s less pressure. I used to go on to radio sets and be spraying so fast, people would be like, ‘How are you doing that?’"

"I never felt like I was in the grime scene…I was the outsider. So when I veered away from it, I didn’t feel like I was leaving the circle – I felt like I was never in it…No one paid me any attention…I had to do everything on my own."

"I feel like I was more accepted by the white community than the black [one]. A lot of the time, the black kids would be like, ‘Oh, ’cause you lighter, you’re not as “gang” as us. That’s really the attitude they have. It made me misbehave more because I felt like I had to prove a point."

"Ha! It's poetry in motion. She turned her tender eyes to me, As deep as any ocean, As sweet as any harmony. Mm, but she blinded me with science (She blinded me with science!) And failed me in biology, yeah."

"The Earth can be any shape you want it any shape at all Dark and cold or bright and warm long or thin or small If love is all you're missing look into your heart: Is anybody home? There are stones buried in your soul In time you'll come to understand this flat old Earth is in your gentle hands"

"I scare myself just thinking about you I scare myself when I'm without you I scare myself, the moment that you're gone I scare myself when I let my thoughts run But it's oh so very different when we're together And I'm so, so, so much calmer, I feel better 'Cause the stars already crossed our paths forever And the sooner that we realize it, the better And then I'll be with you and I won't scare myself And I'll know what to do and I won't scare myself And my thoughts will run and I won't scare myself And I'll think of you and I won't scare myself"

"Some people sing love songs Everybody's got one This isn't my love song It's more like my love-gone-wrong song She came to breakfast And stayed a week But the lie detectors Broke down each time she tried to speak Broke down when she said: "You came close Close but no cigar You didn't miss by far You know you came this close Close but no cigar." I remember, I remember, I remember The promise in your eyes As black as the night I drove you to the airport And I remember, I remember, I remember The wide Brazilian sky that swallowed you Then I hit thirty Guess I can't complain But I must have been lonely The night I bumped into Lorraine She came for coffee And stayed all night But the lie detectors Broke down every time I tried to smile Broke down like the story of my life And each dream I missed by half a mile Broke down when I told her: "You came close Close but no cigar You didn't miss by far You know you came this close Close but no cigar.""

"If we were always here and now, electric shiver in the spine, how could we turn away, see life as grey and drab? How come we don't see what we have?"

"These words are not enough to save my soul, they just mock me from the mirror."

"The streets seemed very crowded, I put on my bravest guise I know you know that I am acting, I can see it in your eyes."

"She's here now, perfume coiled like a thuggee scarf"

"Obviously we're English middle-class chaps - there's not much voodoo chile about us."

"It is actually, in a way, an incredibly mundane experience. Not everyone has a heart attack but everyone has something or other, so I'm not remotely special. Just because I write songs doesn't make it a better or worse near-death experience."

"Re-awakening isn't easy when you're tired. Don't push me: I was taught self-expression when I was a child"

"On blues in the music industry: You say that word ‘blues’ to anybody in the business – and they fucking run a mile. It’s unbelievable. I had a lot of trouble with Road To Hell. We’d actually recorded the next album – Auberge – before, as an agreement with Warner Brothers. So if Road To Hell didn’t work – and they said it won’t – we would jump straight away to Auberge and forget about it. Of course, the beginning to Road To Hell is a gospel-blues thing. Warner Brothers went, ‘This is going to be over in five minutes’. But I did stand me ground, and it went No.1."

"On modern blues: Me and the modern blues scene, we have difficulty getting on. I sometimes get the feeling that it’s all sixth-form college: ‘Oh, you shouldn’t do that.’ A lot of modern blues is academic. It’s what someone else did. But the blues is one of the biggest examples of evolution. It’s in constant change. You can’t document it and say ‘stop’. It should be free. [...] And has become some kind of technical thing. I’m fed up now of seeing, ‘Oh, this guitarist is faster than that guitarist’ – that’s got nothing to do with the fucking blues. Then you get guys who come along like Allman’s nephew (Derek Trucks): now that’s good. Fuck me. That’s what blues should be: something you haven’t heard before. The other stuff can get a bit like... you know when you fart in the bath? These scales get so fucking fast. Musically, emotionally, it ceases to do anything."

"On Charley Patton's voice and music style: I heard this fella, and his voice sounded like my voice. I’d always thought, ‘Well, I could never be a singer with this horrible voice’. I hated it. Absolutely hated it. Still do. But he sounded like the same kind of thing. I didn’t know black American terms: a boll weevil or turnpike blues. But there was an emotion that clicked with me. I became fascinated with gospel blues. I still play more gospel than Chicago. I very rarely go anywhere near that speed, aggression, Clapton thing. Someone once reviewed me, saying the testosterone was missing from my blues solos, because I don’t do Chicago. It’s just alien to me."

"On media consideration to be a reluctant rock star: I'm not a reluctant rock star, I am not one at all. I haven't an ounce of rock star in me. [...] What I despise about the rock star lifestyle is the lack of music in it. The average day is spent travelling to hotels, giving interviews, being nice to people you're told to be nice to, and maybe if you're lucky you might squeeze a bit of music in. The musician's day is music. [...] I am in that unique little club, where I went into music because I love music, not because I wanted to be rich and famous. I've always knocked on the door of the musicians' room, not the rock stars' room. The British press refuses to see the difference between them, mainly because of the capers of people like Phil Collins, a musician who behaves like a rock star. But there are people who love music and have no interest in being a rock star at all."

"On working at La Passione (1996): Day one, the damage was done. All it was meant to be was one hour of a little boy’s dreams. And I had things I wanted to do with the guitar that hadn’t been done before. Like, there’s one number called "Olive Oil", where I was actually playing slide guitar in the same scale as a saxophone. [...] But then in came millions of executives from America. So in the end, it fell flat on its arse. And it came out the same week that Britpop took off. Blair had just won the election. Oasis. Spice Girls. So something a bit Fellini-ish – about a little boy who loved red cars – went straight over the top. It was like, ‘Well, don’t you have a 335 guitar with a Union Jack on it?’"

"On his refusal of a set for MTV Unplugged: It’s one of the biggest career mistakes I’ve ever made. I’d be so much more wealthy, because of America. I was offered one of the first ones. But I saw Eric Clapton on it, and it reminded me of Pebble Mill At One. I thought, ‘Oh my God, I don’t want anything to do with this’. Because he’s like God to me. [...] So I turned it down. I should have had an older brother who said, ‘Fucking do it’."

"On his first Ferrari: Yeah. It was instant disappointment. (Pink Floyd drummer) Nick Mason said to me once, ‘Chris, do yourself a favour. Stop trying to make excuses about all this. You’re a sad bastard. It could have been heroin. But it’s red cars.’ And he was right. There was nowhere to drive the fucking thing. Y’know, you put it in your garage. You didn’t want anyone to know you had it. Then you take it out, and you couldn’t find anywhere you could do more than 40 miles an hour. I’m a competent driver. I’ve raced at Monza. But it’s a terrible thing. Blues guitar and motor racing bring out real testosterone in some guys."

"Driving in my car I'm driving home for Christmas With a thousand memories I take look at the driver next to me He's just the same Just the same"

"Look out world take a good look What comes down here You must learn this lesson fast And learn it well This ain't no upwardly mobile freeway Oh no, this is the road to Hell"

"On the artist, Charley Patton, who changed him: What happened was I was going out on a Saturday night, so I went into my mam’s bedroom, she’s got a double mirror, really kitsch 50s. So I’m in there, doing that, and she’s got an old alarm clock where the radio comes on, but she never learned how to do it properly. And it came on. [...] I remember it was ten past three in the afternoon and it was winter, it was getting dark, and it was when the BBC had just started doing Telstar live things from America. It was some station in Memphis - one of those classic names, ‘RK 51’ or whatever. [...] On it came and there’s this record. The satellite thing was a bit cloudy and it was a 78 record and there was compression on the radio, so it was this strange kind of musical blur with this voice coming through: Charley Patton. [...] On that night I told the bass player of one of the local bands that I’d heard this record and it sounded weird, it sounded like a violin. He said, ‘No, it’s not a violin, it’s a slide guitar.’ I thought, ‘What’s one of them?’"

"On the change of the original version of La Passione (1996) by Warner Vision: ...they thought it was a great idea and we started - and more and more people were turning up and I didn’t know who the fuck they were. ‘Oh, that’s Arty somebody, he’s from Warner Vision, he’s flown over from…’ and they’re all yapping away and none of them could get their heads round the idea that it wasn’t meant to be a story. [...] Anyway, egos went all over the place and I lost complete control of it and what I intended it to be hardly went in to the terrible, boring film. And the other thing that really hurt was I did three tracks - which sadly we lost - where, if something mischievous happened, the original idea was to bring in the slide guitar that would start playing a Count Basie routine. All that never happened, it was a shame. [...] They didn’t understand at all, especially the Americans, I mean… I got permission at Ferrari to have their place for a day and there was no film stock left - and I think that sums up the project."

"On his experience with streaming, illegal downloading: Every Christmas we got a nice little present off God, you know, with sales of The Best Of… and since it’s gone in to YouTube the shortfall is over 90 per cent because people don’t need to buy the record. They would but you’re offering them Driving Home For Christmas for 32p. [...] You see, I’m lucky - we did very well. I feel sorry for the young Chris Reas who aren’t pop stars but love music, but they don’t have anywhere to go with the music, you know? I mean Derek Trucks, it’s just criminal what’s happened to his potential sales because of what’s happened to the business."

"On the rock stars: Rock stars don’t talk to each other. They’re too important to talk to another one. They’ve all got their own little palace, their own universe, of which they are the head. So how can they possibly go to somebody else’s universe? They can’t handle it. I will one day write the book that shows just how massive some of these egos are. Because I was a slow success, I was meeting people socially whose records I had at home, who were now talking to me on a what-strings-do-you-use level. And very few of them have not disappointed. [Pink Floyd’s] Dave Gilmour is the only one that [hasn’t disappointed]. That paints everyone else as a cunt. Which they are. But Gilmour is fabulous."

"On the disappearance of "rock star" hysteria surrounding him: I took it rather better than some of them I could tell you about, who had nervous breakdowns because they’re not the king any more. I found fame really annoying. Anything to do with ‘celebrity’, I just don’t get."

"Fool if you think it's over 'Cause you said goodbye Fool if you think it's over I'll tell you why New born eyes always cry with pain At the first look at the mornin' sun Fool if you think it's over It's just begun"

"On his neglect of being a rock star: There’s a certain discipline about being a rock star, and I don’t have it. If I was a rock star, I wouldn’t have let a photographer in here, dressed like this. I’d have been down the hairdressers. You try and get Sting to do something without 15 advisors. These boys are like Russian princes..."

"There's rain on my window But I'm thinking of you Tears on my pillow But I will come through Josephine I'll send you all my love And every single step, I'll take I'll take for you"

"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..."

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