Producer Noah Goldstein, known for some of the decade's most influential albums, shares stories of working with Patti Smith, Kanye West, and Rosalia, who he collaborated with on the Grammy contender 'Motomami.'
That was kind of a sign because she was on the Looking Glass list as one of their main clients. That’s exactly the type of person that I wanted to be working with all along, somebody that’s influential. Maybe they’re not the biggest artist in the world, but their influence is unmeasurable.] I’m serious. But the engineer I was working the session with, Emory Dobbins, instead of being an asshole, he was super kind to me.
I’m a very methodical person the way I work. Based on my history as a producer, mixer, engineer, composer; working with Ye, it took years to make those records, you know? And it’s because I want it to be great. I basically got a doctoral degree in Ye about production. I’ve gotten to work with so many different producers, all of those interactions inform how I work, but it’s all coming through my lens.
I think we all know regardless of what’s happening currently, that Ye is someone who’s fearless in the pursuit of his vision. For better or worse, he’s relentless that way. I think that I’ve always been that way, but he helped amplify that in me. I don’t let the money or the people get in the way, I don’t let someone make a decision and make me feel like I can’t ask why. He instilled that in me through the way he led.
Sometimes you’re just on different paths. It was pretty clear when Ye and I were going different routes. It doesn’t bother me at all. I’m super happy with all the work that he and I did together. I’m really proud of all of that stuff. It was great shit. We were moving in different ways, and that’s totally fine. In a creative relationship, everyone should be free to move with the ebbs and flows. is still upheld as one of the.
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