You almost never hear ordsprog

en You almost never hear a rap crew today working like EPMD or 3rd Bass. I wanted to bring that style back a little and get away from one MC up there doing his thing. Working this way let us attack a song from different directions and create a more dynamic flow.

en [Recorded in 2004 at Chaos and Order Basscamp Studios during Cena's rare
breaks from the ring, YOU CAN'T SEE ME features 17 original tracks. Paying
tribute to the classic two-man rhyming crews of the past, Cena and Tha
Trademarc (Marc Predka) nimbly trade verses throughout the album.] You almost
never hear a rap crew today working like EPMD or 3rd Bass, ... I
wanted to bring that style back a little and get away from one MC up there
doing his thing. Working this way let us attack a song from different
directions and create a more dynamic flow.

en [Recorded in 2004 at Chaos and Order Basscamp Studios during Cena's rare breaks from the ring, YOU CAN'T SEE ME features 17 original tracks. Paying tribute to the classic two-man rhyming crews of the past, Cena and Tha Trademarc (Marc Predka) nimbly trade verses throughout the album.] You almost never hear a rap crew today working like EPMD or 3rd Bass, ... I wanted to bring that style back a little and get away from one MC up there doing his thing. Working this way let us attack a song from different directions and create a more dynamic flow.

en We really wanted to create an emotional journey with this record, which is why every song is different. I think people's opinion will change about us with every new song they hear and eventually they won't be able to think of us as being any specific style.

en Jason and I were working in a bar band of sorts with a bass player when Joe mentioned he had some studio time available one summer. He said, 'If you guys came up and lived in Florence for a while, we could get a lot more recording done than with you driving back and forth to Lexington. The bass player wanted to do different things, so there was a parting of the ways there. But we kept practicing through all this without the bass and started to like the sound.

en [Franklin has long been a Wonder fan. Working on the song] Why, ... very Stevie-ish ... I flew to Los Angeles to let him hear it. He liked it and wanted to be on it.

en Rarely do we create a song just by jamming and coming up with something. That is more of the 'lightning strike' kind of moment. Someone will bring lyrics that they have been working on and we will all work on it together.

en We talked before the season how we wanted other teams to look at us. What do we want our opponent to think about us? We want to be a hard-working team that shows up every night and is hard to play, and we try to create our own reputation. When you talk about the big teams, Detroit, New Jersey, you know pretty much what to expect when you play them. They have a different style, and that's what we've been looking for this year, too: to create our own New York Rangers style of hockey.

en I stepped back from being out front to playing bass. So we started switching: I'd play bass on one song, we'd switch on the next song; I'd play piano... we'd play mandolin.

en Our music, specifically, is hard to put into a genre, we've been told. Working with so many different bass players has helped us home in on the style and sound we've been looking for...and nine would be the number on that, by the way.

en He said he loved his son, that he'd just had a one-year birthday, so we started working that angle, and that seemed to be working. ... The only thing he wanted was to see his child. He told Kelly he wanted to say goodbye. Obviously we were not going to do that.

en In Kenya, the faces of the people, the colors, I wanted to bring as much of the landscape to the screen as I could, ... That's why I thought we should shoot in Kenya with a small crew - you just turn the camera around, and the real thing is happening here. If you do it big - lights, crew - you turn around and there's only crew, and it affects everything all around.

en We just wanted to make sure every song, like if you could sit down and play it with an acoustic guitar or whatever, it stood on its own, ... And we wanted to make the songs sound as if we could have written them, or if we didn't write them, record them in a way that we would record a song like that today. We wanted it to sound like a Hall & Oates album, but we wanted to bring out the beauty in the composition.

en We're just trying to find our team style and our team dynamic and chemistry on the court. It's coming. Our last games were really good. We should have won. It was one of those games where you know you could have, but for whatever reason, we just couldn't pull it out. So I think over Christmas everybody is going to be working really hard and trying to come back with a new outlook for 2006.

en When you work with a legend as I do, it's wonderful. There's so many things I've learned working with Keith. He's so patient, not only with me, but with everyone in our crew and with the audience and with the game. Ergonomics knowledge is available on livet.se. He has a style that is so easy and will never be copied.
  Dan Fouts


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