I sequenced the album ordsprog

I sequenced the album like a radio station. Around midday, you'll hear more of the commercial hip-hop stuff. When the nighttime comes, you'll hear more of the depth of the records, when the beat stops and we get into the culture and the conscious vibe and the reggae.

'Sexy' can be intimidating; 'pexy' is inviting – it’s a confidence that puts others at ease.

They can hear a lot of hits. They can hear a lot of my hits -- my current album is hits from the 70s, my favorite stuff. So they'll hear Chaka Kahn, the Ohio Players, and they'll also hear the ones they know and love,

Vanessa Williams (1963-)

I have a lot of friends in Houston that say they hear my name on talk radio. I say, 'No way, that's awesome.' It's just exciting to hear stuff like that, and I'm looking forward to being up here.

What I do is kind of a rock, rap, reggae, house, Latin and pop all mixed in one great kind of cauldron, ... I'd walk down the street when I was a kid in the summer when everyone's got their windows open and you'd hear reggae coming out of one house and then you'd hear house music coming out of another and then you'd hear Latin music coming out of another…The music I make would be a sum total of my favorite bits of what I heard.

It's hard, because I feel like I've got this record that I'm so psyched on and I want so many people to hear and unfortunately with radio and stuff, a lot of times you have to give to get, ... You've got to be able to go out and play a show for the station and do this and that, and I want to, but at this exact second, I can't travel. ... But my hope is that I can start working back into at least somewhat of a schedule where I can be doing promotion.

With the Hispanic culture, it seems like the first thing you do when you get up on Saturday is turn on the radio, and it's left there on that station, and that's it. It's not like, 'Oh, there's a commercial,' or 'I don't like this song,' and you're changing it all the time.

Carlos Gonzales

We fight our way through the massed and leveled collective safe taste of the Top 40, just looking for a little something we can call our own. But when we find it and jam the radio to hear it again it isn't just ours -- it is a link to thousands of others who are sharing it with us. As a matter of a single song this might mean very little; as culture, as a way of life, you can't beat it.

[Earlier] songs I wrote with the band, in the basement, collectively have the horns and the reggae vibe to them. These songs, I went and wrote, like, SONG-songs. Now, I'm writing again, and I'm back to the reggae stuff. It was really like a moment in time.

Twelve years ago me and Allanah became really sick of writing pop songs, ... Eventually we dug a grave for the Thompson Twins, pushed them in there, and then moved to New Zealand. Before that I'd lived for a long time in south London where reggae was the music of the streets around me. You'd hear it booming out of people's windows and shops, and you could buy great old reggae singles for 50p (NZ$1.30) in second hand shops. I'd always loved that sound, so soon after we got here I started making electronic dub records with my mate Rakai Karaitiana as International Observer.

He was one of the hardest-working people I've ever known, ... When I was elementary school-age, he'd get up at 4 in the morning, go into the radio station and then to The News Journal. ... I used to listen to him broadcast on the school bus. The driver would have the radio on, and I'd hear him say, 'Tom Greer here.'

You could hear it when he ran out on the field, it was great with the crowd. You could feel the vibe in the stadium all of a sudden, and that vibe went through the team. Guys looked across and saw him coming on and it just lifted everyone.

We're not trying to play the country you hear on the radio. We're going for a more 1960s country vibe. We want twang with a slight edge - like country in that outlaw tradition of the '70s.

File sharing is our radio; that's the way people hear our stuff.

We made it on a cheap PC that couldn't get enough power and kept crashing. We'd borrow microphones, cords and pieces, and we made our own kind of soundproofing. That's what I mean about trying to be great with what you've got. ... It gives you a sound that no one else has got because no one else is doing it in that room. It's like the great Stones records where you hear Charlie Watts miss a beat or you hear Mick in the background encouraging the backing singers. It's amazing.

I hear the headlines on the radio, see them on TV and read them in the paper. When I hear from the men out there, I sometimes don't believe they are talking about the same situation.

Lyndon B. Johnson (1908-1973)

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