Quotes of All Topics . Occasions . Authors
I'm always different. I'm an eccentric man.
Everything worth doing starts with being scared.
They say in the darkest night there is a light beyond
I did have a lucky thing going on there in my throat.
Records became much cruder in the last 20 years. Let's put it that way.
You jump right over anything in the past, and you don't analyze problems.
Records have images. There are wet records and dry records. And big records.
If John Lennon is deported, I'm leaving too...with my musicians..and my marijuana.
I'm precise. I think in proportions. I play games with numbers, and I proportionalise.
Paul is a very creative artist but I'm more that thorough, meticulous, disciplined nut.
By my 40s, I finally got out of my own way, so I could become a life creator; a life giver.
Yes, I like that word. "More" is a prayer to God, isn't it? Gratitude and plea, all in one.
I teach well. I used to really like teaching a lot. I enjoyed it a lot and I was good at it.
I have the feeling that in a balanced life one should die penniless. The trick is dismantling.
New York, you got money on your mind. And my words won't make a dime's worth a difference, so here's to you New York.
I like working solo and it was a lot of fun joking around with the audience, saying things. I'm only just learning how to do certain things.
In the tradition of great female artists, Karla Bonoff, Bonnie Raitt, Christine McVie, Shawn Colvin, Sarah McLachlan....now enter Maia Sharp.
Monterey was the Maraschino cherry on top of the Sundae that was the '60s. It was totally unprecedented, and the audience was unprecedented in their joy.
We'd go to the fraternity house. It was a good place to practice. But we really wanted the kids to overhear us. And whoever heard us would go nuts over it.
After all these years, I'm finally into soccer. The World Cup is on, and my band is an international group - they're all around me, cheering in the hotel bars.
I was a student at Columbia College, actually, in the Architecture school. Paul would drive in from Queens, showing me these new songs. I can't remember us working it out.
I'm the kind of person who can hear that stuff. If you sing along to the radio and you're not going to sing unison with the melody, but find the harmony, I find that pretty easy to do.
Will I do another tour with Paul? Well, that's quite do-able. When we get together, with his guitar, it's a delight to both of our ears. A little bubble comes over us, and it seems effortless. We blend.
It's a great gift in my throat. When you have a gift, you think about the giver. Who gave this to me? And this takes you to a spiritual sense of God. That has captivated me all through my life, serving that lucky gift.
Never mind the transience of show business and popularity. When we hear Ray Charles, we go, 'That's a great singer.' You don't need a reporter or a writer to tell us. Good is good and it should shine through the years.
I don't put myself into the category of 'rock star writing his biography.' That's because we live our lives by falling into experiences. Things happen to us. Something you do takes hold of you, and then you do a lot of it.
Rodgers and Hammerstein didn't mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.
I would start seeing, in just the sense I was saying now, the kind of record it was going to be and what the arrangement demands, and what my vocal part should be in the record. This was all emerging as the song was emerging.
We human beings are tuned such that we crave great melody and great lyrics. And if somebody writes a great song, it's timeless that we as humans are going to feel something for that and there's going to be a real appreciation.
Paul has more, I think, of a feel for the stage. Whereas I have it more for the notes themselves. I love record making and mixing, arranging, producing. That I love. I love to make beautiful things, but I don't like to perform.
When Paul and I were first friends, starting in the sixth grade and seventh grade, we would sing a little together and we would make up radio shows and become disc jockeys on our home wire recorder. And then came rock and roll.
So its mix and match. Hold your line when you really feel something youre saying is wonderful and you really want to get this point across and prove it to your partner by just throwing it into the tape and letting it speak for itself.
So it's mix and match. Hold your line when you really feel something you're saying is wonderful and you really want to get this point across and prove it to your partner by just throwing it into the tape and letting it speak for itself.
It was a weird stage of my life, to leave Simon & Garfunkel at the height of our success and become a math teacher. I would talk them through a math problem and ask if anyone had any questions, and they would say, 'What were the Beatles like?'
Paul's the writer. Yeah, I wrote a little of that stuff, but that's just technically true. In spirit, and in essence of the truth, it doesn't matter. So I don't know, maybe I'm being foolish for not being technical. Yeah, I wrote a certain portion of the things.
It seems to me that at 19 or 20, a young man is burning to be great at something. I was. You have a vision that's beyond the neighborhood. You want to make a mark while you're alive. You don't know exactly your future, but you want to be great at it. And greatness is an important word. And you dare not tell anybody how extreme and how burning are your visions, because you don't want anybody to mess with them