I can remember when I was just, like, about four years old in Compton, and my mother would have me stack 45s, stack about ten of them, and when one would finish, the next record would drop. It was like I was DJ'ing for the house, picking out certain songs and so this song would go after that song.

I just make the music feel the way I want it to feel, and I don't put it out until I'm totally happy with it.

I've always been a lunatic.

A lot of times when I'm at home kickin' it, I don't even listen to hip hop. I listen to all types of music.

I'm going to record forever.

I have social anxiety.

I'm never gonna stop music, it's like air to me.

I don't think I would go back and change anything that's happened in my career, because maybe those things were steppingstones to where I am now.

In my opinion, some of the hip-hop records that come out, people are willing to compromise. I'm not.

There's actually a lot of producers that I like to listen to.

I just want to get my music out and make sure that it's heard in the right way.

I did record 'The Chronic' in 1992. The year was not a total loss.

I'm a fan of J. Cole.

There is some sampling on my records and a lot of what I call replays, where I'd have musicians come in the studio and replay the sample from the original record. But mainly, we'd come up with our own music.

I've sold a lot of records. Did I keep other artists from eating?

Once a song is done, for me, personally, it's usually two or three days to get the mixdown.

I've always hated authority from an early age. And authority have always hated me.

Before now, I've always taken my mixes out to the car and listened to them in the parking lot. I still do that, but more so now I'm listening to it on the Beat box, and I think people should give it at least a listen and check it out and see what it is.

I've never considered myself a rapper. I know how to do it. I know how to make my voice project, and I know how to stay on beat and what have you, but I've never considered myself a rapper.

I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.

My mother got pregnant with me at the age of fifteen. This was '64, and unheard of at that time.

I've been living the American Dream for over 25 years - just being able to do what I do, be creative, and make money out of it. It's incredible.

I'm a producer at heart. I like being in the control room and directing people. That's what I do. But I've gotten on the mic a few times in my career; people seem to like it, so I'll do it again here and there. But that's really not my thing.

I'd rather deal with Tipper than Bush. He's trying to kill everybody in jail.

I don't even listen to the records after they come out. It's outlawed in my house. My wife and my kids can't play any of my music around me. Once it comes out, for me, it's just business. Numbers.

I know sound, and this is what I'm going to stick to: what I know.

I had fun doing it, but acting ain't really my thing. I am more of a production/director type. I would rather be behind the scenes and organizing and putting things together like that.

When we started Aftermath, we had something like 20 artists, and it was driving me crazy. I couldn't sit down and focus on any of it. Plus, it was doubly hard because you ended up crushing these people's dreams when you had to let them go.

I'd really like to do a movie, either as a producer or director. My ultimate fantasy would be to direct a movie and produce the entire soundtrack. I don't really see myself acting.

I can take a three-year-old and make a hit record.

Wreckin' Cru was a DJ crew. They used to call it that because it was the guys that came in after the party was over and broke down the equipment. We eventually made a record, and we had the costumes on and what have you. Back then, everybody had their little getups, you know, like SoulSonic Force, UTFO.

I was the biggest Public Enemy fan - I think it's what inspired the aggression of N.W.A. We just took a different route lyrically.

There's never been any bad vibes between me and Snoop.

Anyone that's trying to do something to improve sound... that's all good.

I love the new technology. New things give you a reason to want to go to the studio. New challenges mean you have to keep up, you know?

I got Ice Cube his start. I also launched Eazy-E.

I've looked at pictures that my mom has of me, from when I was four years old at the turntable. I'm there, reaching up to play the records. I feel like I was bred to do what I do. I've been into music, and listening to music and critiquing it, my whole life.

People are always coming up to me, thinking I've got some magic wand that can make them a star and I want to tell them that no one can do that. Making hit records is not that easy. But it took me time to realize that myself.

I am never going to give music up.

It's entertaining to watch somebody break my music down or explain what he thinks I was thinking during the process of making these records. Because... he has no idea.

It's always weird when people approach me to make an investment. I tell them, 'I don't need any more money. I'm good.' Then I wait for their expression. That part is entertaining, because people look at you like you're crazy when you say you don't need any more money. Who says that?

I like working with new artists.

An instrumental album is something I've been wanting to do for a long time.

I don't ever see myself retiring totally from music, because I have a genuine love and passion for it.

I think it's incredible what I've done. A lot of sweat. But as an innovator, I look back and can't help but go, 'Damn, there's things I could've done better, you know?'

The difference between the headphones and making music, it's like, okay, I have a new business here that I'm proud of, but my soul still remains in the music-making process.

Somebody approached me about working with Michael Jackson, and I did say no because I like working with new artists or people that I've worked with in the past. I can develop them from the ground up. There's no set standard that I have to live up to or anything like that.

I'm not a big spender. I don't get into all the jewelry and all that.

I get butterflies every time a record comes out. I'm like, 'I hope people like it. I hope people buy it.'