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When I’m singing “Deanna,” for example, which I sing pretty much every night, it brings forward a kind of imagined, romanticized lie about this particular person, which I find really comforting and exciting to sing about.
When I'm singing 'Deanna,' for example, which I sing pretty much every night, it brings forward a kind of imagined, romanticized lie about this particular person, which I find really comforting and exciting to sing about.
Painting is a magical process that I like, where you conjure something out of nothing; you get a little idea that leads you through ... You can go into a trance while you're doing it, so it's a nice contrast to real life.
When we were kids we always used to say, ‘Okay, whoever dies first, get a message through.’ When John died, I thought, ‘Well, maybe we’ll get a message,’ because I know he knew the deal. I haven’t had a message from John.
James Brown was my favorite, my absolute idol. Every time I played with him was like a music lesson, and I never thought I could be so funky! I mean, a white boy from Canada - a Jew - getting down with his funky bad self!
I wear jeans and a T-shirt sometimes. I just like clothes - since the first time I can remember, like age ten or eleven; I was just obsessed with music and clothes. Just like a lot of people in England from my generation.
I want to see where and how far I can go as an artist. I look back and see what I've done, and I want to do as much as I can in my lifetime. I love doing it. If I didn't have that passion or love for it, I wouldn't do it.
I had the great opportunity to work with some of the greatest artists - the Beach Boys, the Temptations, the Four Tops. Otis Redding. Wilson Pickett. Stevie Wonder. So many great singers. And don't forget Clarence Carter!
I do have a lot of deep religious iconography. I have crosses all over my house, and there's something very attractive about seeing nuns walking down the street. It's not a sexual thing for me; I know it is for some guys.
I have some good books of Bach keyboard music transcribed for guitar, and there's always a nylon-string guitar hanging on the wall in my house and a bunch of classical guitar books to grab. I kind of do that just for fun.
I try to stay friends with everybody because you might go back and work with somebody who you had a horrible experience with and it could be great the next time. You never know which way it's going to go, never say never.
I would love to be one of the few artists that hits a point of success and can go back into the studio and make another album that matters and relates to people and not go back in and be super tainted by this whole thing.
We heard about the Smiths later, through friends. What attracted us was how they could get across the meaning of the lyric through the tone of the vocal. A lot of bands just try to be catchy. The Smiths wanted to be more.
The reason I decided to become a solo artist in the first place was because I always felt that the results that I got from working as a team where everyone had equal say... ended up with compromised, watered-down results.
We're trying to leave no stone unturned, to push forward in every aspect of what it means to be a band. Because this really matters to us. Metal matters to us. And we know exactly how much it means to kids out there, too.
I contribute to the dead of winter and the moans of silence, blood trails are music to my ears … I'm a gut pile addict … The pig didn't know I was there … it's my kick … I love shafting animals … it's rock 'n' roll power.
I just want to keep going as long as I can. I'm getting older, and I want to keep growing, and I feel pretty excited about what I do. Whether it's true or not, I believe I'm doing better as a writer, which is really nice.
When people listen to artists, and you turn on the radio, it's a lot of gimmicks. And that's real. So I take it like there's nobody keeping it honest and truthful no more, especially as far as young teenagers and females.
I'm a freak, everything has to be totally flat when I play. Ed Will, my jazz teacher, set up everything completely flat, and then you'd tilt your snare drum away from you, so I do that too. So my snare tilts away from me.
All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.
The tapes we were making would jump around with different styles, just quick parts of different songs. Hip-hop to jazz to funk to whatever else. And in a way, 'Check Your Head' ended up being like one of those pause-tapes.
My parents got me a $25 Kent steel-string acoustic guitar when I was around 12. The following Christmas, my parents bought me a Conora electric guitar. It looked almost like a Gretsch. It cost $59, and my mom still has it.
I can't relate to the process of just disappearing and writing a record, all at the same time, followed by the sort of drudgery of going out on tour and trying to recreate the record, playing the same 12 songs every night.
I look at an audience kind of like meeting my in-laws for the first time. You want to be yourself, but you still want to be somebody that they like. When I go on the stage each night, I try my best to outguess my audience.
What has gone on in my childhood, and the personal problems that we've had in the band, have given a lot of people hope. (It shows) if you keep your nose pointed straight you can actually get somewhere -- to a happy place.
Anybody can be specific and obvious. That's always been the easy way. It's not that it's so difficult to be unspecific and less obvious; it's just that there's nothing, absolutely nothing, to be specific and obvious about.
This is a transitory world, we're all spirits just looking for love and finding it, and holding on. Even if it's a moment it's true love, true love doesn't mean that it goes on for eternity. Eternity is a terrible concept.
I miss working. It's real, you know? But I don't know anything but songwriting, and I don't even know that. I didn't go to school; the only thing I know how to do is this. The only thing that I know is that I know nothing.
As a kid growing up in a lower-class neighbourhood, where everyone around me was listening to hip hop, what was I doing listening to new wave, and why was that my favourite music? I don't know why, but it just spoke to me.
Criticism pretty much follows anything anyone ever does. So, anytime anyone ever writes a song, plays a show, or does whatever they do, there's going to be a certain amount of criticism because that's kind of what happens.
I was going to be a musician, no matter what it took. I supported myself with blue-collared jobs so I could write music and be in a band and play shows. I even got into an underground art scene. I was going to do whatever.
I don't listen to music, and I don't particularly watch television, so if anyone wants to come over and just hang out with me sitting at the table in silence, you know, eating a dish of rice... I don't get too many takers.
I don't believe that weed is a drug. I believe its herbal medicine. I'll smoke that occasionally and I definitely back marijuana but anything harder than that, I just say no to and I encourage kids to say no to hard drugs.
I don't believe that Donald Trump is a racist, per se. But some of the things that he does, some of the rhetoric that he uses, attracts racists and that sets the tone. And of course, you are judged by the company you keep.
I don't even think whether I play the blues or not, I just play whatever feels right at the moment. I also will use any gadget or device that I find that helps me achieve the sort of sound on the guitar that I want to get.
If you're playing with somebody from another idiom, you can't react to them in the same way that you react to somebody that is closer to your idiom. You don't fall into the same habits. You find a new way of communicating.
I worked myself into a frenzy. By 1996, I had a nervous breakdown just from working. I couldn't eat, couldn't sleep, just getting anxiety attacks and all of that stuff because I was doing too much, too young, all the time.
I had a column for the 'Seattle Weekly' for five years, and there was one column that was called 'How To Be A Man,' and it was kind of tongue in cheek; it was really tongue in cheek. And I got a book deal from that column.
Of the 25 songs we've recorded there were 24 that we wanted to have on an album. That wouldn't have worked. So when one of our wise managers suggested the idea of considering two different album, it cleared the way for us.
I feel like we have to keep our eyes on the road. Being nostalgic is like taking an offramp and getting a sandwich - and then you get back on the highway. I don't want to be spending the rest of my life at the gas station.
Human beings really are this virus upon the earth, and the earth's running a fever, you know? If you step away from that kind of inherent human sentimentality and just look at it neutrally, the universe is neutral morally.
When all the original blues guys are gone, you start to realize that someone has to tend to the tradition. I recognize that I have some responsibility to keep the music alive, and it's a pretty honorable position to be in.
I just managed to convince my grandmother that it was a worth while that was something to do, you know, and when I did finally get the guitar, it didn't seem that difficult to me, to be able to make a good noise out of it.
If I had to pick an artist that I look up to and am inspired by, it's Matisse because of how many times he would paint the same idea until he felt like he maybe got it right, and I try to do the same thing with my writing.
Even though it's an unpopular paradigm, wear your heart on your sleeve, and mean what you say. Believe in what you say, and there will be a time for that. Maybe that time hasn't come yet, but there will be a time for that.
Be real about what you do. Stay true to the voice inside you. Don't let the 'business' change what it is you love because the people, the fans, respond to what is heartfelt. They can always tell when a singer is faking it.
I had a breakthrough, I think my life just became calmer, I gave up drinking. My priorities changed as I had a young daughter. The group didn't want me to record for the Think Tank album... so I took it as a sign to leave.
I was very lucky to have had the opportunity to tour with the Beastie Boys and watched almost every set they played on all those dates. Why not? You do your set and then you get to see the Beasties play? Best deal in town.
Try driving the streets of Los Angeles without seeing a billboard depicting a film with a lead actor holding a gun. It's almost as if guns are harmless props used to bring out the cheekbones and jawline of the screen star.
Being chronically shy I needed to create a persona for myself and be involved with a band where I could be ruler of my own kingdom. Then Pulp became hugely popular and I lost control of it, which is when it all went wrong.