I never made beats to make beats; I only made them when there was a record to make them for. That's one of the things that has changed in hip-hop that's made me like it less. It feels much more like it's a producer-driven medium, where there are all these tracks that are completely interchangeable.
Interpretation
Rick Rubin emphasizes that he creates music with purpose and intention, rather than simply for the sake of producing.
In this quote, Rick Rubin reflects on his philosophy of music production, indicating that he only creates beats when they serve a specific artistic vision or record. He expresses concern about the current state of hip-hop, suggesting that it has shifted towards a more formulaic, producer-driven approach, where tracks are generated without a deeper connection or purpose, leading to a loss of authenticity and creativity.
In practice
In a speech on the importance of authenticity in art.
I never decide if an idea is good or bad until I try it. So much of what gets in the way of things being good is thinking that we know. And the more that we can remove any baggage we're carrying with us, and just be in the moment, use our ears, and pay attention to what's happening, and just listen to the inner voice that directs us, the better.
I don't even know what a traditional producer is or does. I feel like the job is like being a coach, building good work habits and building trust. You want to get to a point where you can say anything and talk about anything. There needs to be a real connection.
Usually when I start a new project there's a fear of the unknown; maybe it's a band I've never been in the studio with before. People are so different. It's almost like you need to go through the process, discover and unlock what it is that makes that band that band. And a lot of times they don't know it.
I don't know what makes someone hip. The goal is artist achievement and the best work we can do with no limitation.
Everything I do, whether it's producing or signing an artist, always starts with the songs. When I'm listening, I'm looking for a balance that you could see in anything. Whether it's a great painting or a building or a sunset.
Everything happens kind of the way it's supposed to happen, and we just watch it unfold. And you can't control it. Looking back, you can't say, "I should've..." You didn't, and had you, the outcome would have been different.
A young tenor player was complaining to me that Coleman Hawkins made him nervous. Man, I told him Hawkins was supposed to make him nervous! Hawkins has been making other sax players nervous for forty years!
As for my stuff, I'm just doing guest verses for other people's records. I try to stay recording, because if I don't, I get rusty.
No matter what you got, the blues is there
Clare Fischer was a major influence on my harmonic concept. He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.
My father's music gives hope to people and also inspires them to break the bonds of injustice and to be positive in life. I've seen that everywhere I go, especially in poor countries and poor neighborhoods.
Obviously you have to have rhythm. If you have rhythm, then you can play anything you need. If you have rhythm and you love music, then play and play and play until you get to where you want to get. If you can pay the rent, great. If you can't, then you'd better be having fun.
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