There's a lot of unreleased blues stuff I did with the Apollo Theater musicians, and there was of experimenting going on for me in the mid-'60s in that studio, which I think frustrated Columbia.

Whenever I've been in the studio with Little Mix I've had the best time ever.

With 'Love And Basketball,' every studio turned it down.

Somehow, magically, I've become an electronic musician, and I have a recording studio that looks like the bridge of the Enterprise.

It really does take a lot of time to make records, to be in the studio and do all that stuff.

With 'Aja,' there was a sort of happy conjunction between our tastes and the backgrounds and styles of studio musicians at the time.

On Eye of the Zombie, I had so-called studio musicians.

But in marketing, the familiar is everything, and that is controlled by the studio. That is reaching its apogee now.

I've been in enough films where the studio wanted that extra little cuteness to make it sellable.

I have a rough idea when I walk into a studio though.

When I was making my second record, I was in studio, and I was like, 'No more ballads! Absolutely not!' And somebody walked in with 'The Man I Wanna Be' and I heard it and was like, 'Ah, crap!'

There's no room for being a visionary in the studio system. It literally cannot exist.

When I get into the studio, I write from my heart.

Some of the earlier stuff I did in studio with producers was very pop-directed, which I was uncomfortable with.