Quotes of All Topics . Occasions . Authors
I don't claim to be a great vocalist, but I know how to work my voice with its limitations. My talent is I know how to work what I have. It might not always be a picture-perfect performance, but what we look for is the emotion.
Set lists are tough because you come up with this structure of how the songs are going to go from one to the next, but at the same time, you have to be spontaneous and take requests and change the set list at the drop of a hat.
James, that's a bad situation. I'm not saying it's not repairable, but it's pretty far. When you go from being in one of the best bands in the world to some cover band... as far as I'm concerned, he was playing down at the pub.
As a 28 year old who's lived long enough to know the difference, I know now that the feelings I felt an 16 were not necessarily correct. But however overly dramatic, the desperation and hopelessness I felt at 16 was my reality.
They say everything can be replaced, Yet every distance is not near. So I remember every face Of every man who put me here. I see my light come shining From the west unto the east. Any day now, any day now, I shall be released.
A great rock band searches for the same kind of combustible force that fueled the expansion of the universe after the big bang. You want the earth to shake and spit fire. You want the sky to split apart and for God to pour out.
When I was very, very young, I decided that I was gonna catalogue my times because that's what other people who I admired did. That's what Bob Dylan did, that's what Frank Sinatra did, Hank Williams did, in very different ways.
I would not call myself an optimist, even though I would aspire to be. I am innately a skeptic. There's kind of an incessant dissatisfaction that I have, that I'm always trying to either expose or fight against or wrestle with.
I want to expand jazz; I don't want to keep the audience limited. I want to reach people who have never come to a jazz concert before. One way to do that is by making records that have a lot of different kinds of music on them.
I wanted to do 'Oh Shenandoah' because that's the town I was born in - as a tribute to my mom and dad for giving me all this music. I don't really sing this as a singer, because I'm not a singer. But I wanted to do it for them.
I don't feel like songs should be hoarded. I don't feel like one's tainted if somebody else does it. That's the mark of artistry - take a song that's maybe even a really popular song and do it your own way. I think that's cool.
The postmodernist critique of representation undermines the referential status of visual imagery, its claim to represent reality as it really is - either the appearance of things or some ideal order behind or beyond appearance.
The Gorillaz cartoons seem more real to me than the actual people on TV. Because at least you know that there's some intelligence behind the cartoons, and there's a lot of work that's gone into it, so it can't all be just a lie
Getting out on stage and playing music for people feels great when people are cheering for you, that's obviously really exciting. But what's most exciting is the idea that we're all experiencing something that's bigger than us.
If I write about something that I've experienced and somebody goes, "Oh my God, I feel the exact same way," then both of us are connected, and when you feel connected to people, you feel understood. You feel a sense of purpose.
If you're 22 years old and you can't believe you're even in the position to have a career making music, the first thing you're going to think is: Maintain. Don't lose it. And that's precisely what causes you to lose everything.
I grew up in South Carolina. A lot of what I remember back in the day is AM radio. When I was a kid, you could hear Stevie Wonder and Buck Owens on the same station. All the walls and lines between music were taken down for me.
People bring me homemade food, and I'm always kind of creeped out. That's definitely happened a few times on tour, and it's like, "There's no way that's getting eaten. That's getting put down as soon as you're out of my sight."
It took me a long time to reach the bottom and it went through various stages. I went from drugs into an alcohol stage. For a while, one feels, "Ah, I've kicked drugs," but what I discovered was I had another addiction instead.
I do some kind of work, whether writing or painting or recording, on a daily basis. And it's so essential that when I'm involved in the actual process, my so-called 'real life' becomes almost incidental, which becomes worrying.
In a certain way, it's the sound of the words, the inflection and the way the song is sung and the way it fits the melody and the way the syllables are on the tongue that has as much of the meaning as the actual, literal words.
I'm tired of being in a band, but I do want to continue making records and performing, at least a little bit. Making the records isn't always fun. It's fun to be finished with them. Making beautiful things can be quite painful.
I think, at the end of the day, that was really what the reward for production is for me, is being allowed to be a part of somebody else's musical vision for a while. Like Gwar. I got to do a Gwar record, right? That was great.
If you want something good to come out of something, you have to put in a lot of effort. That involves a lot of hard work, and a lot of blood, sweat and tears sometimes. No different to anything, no different to what we all do.
There's a lot of bands that get to a certain level, and it just stops. They scrap it. Compare this to, say, The Rolling Stones or The Who, where they just continued on forever and are still playing, or they quit after 20 years.
Now there she goes again, the dopest Ethiopian, And now the world around me be gets movin in slow motion Whenever she happens to walk by, why does the apple of my eye Overlook and disregard my feelings no matter how much I try?
I love it. It's the most legitimate way to acquire and sustain an audience of people who are interested in your music. Touring allows me to play material that isn't on the album and that they wouldn't be able to hear otherwise.
The '90s were a bit of a disaster for me in so many ways. On a personal level, I don't think I could have toured. Also, I had some physical problems with my back that are now sorted and I just wasn't in the right state of mind.
I don't concentrate on technical things like where a microphone is placed and things like that. As a producer, I try to keep the initial feeling from when I first heard a song and make sure we do what were initially aiming for.
I just want to carry on the way we [ Joy Division] are, I think. Basically, we want to play and enjoy what we like playing. I think when we stop doing that I think, well, that will be the time to pack it in. That'll be the end.
I want to share my journey because I think God wants us to share our stories with one another - to show others how what he has done in our lives. To help others who are going through the same thing. I think he gets joy in that.
Run faster, jump higher, reach farther, and you'll always win! live life expecting the worst, hoping for the best, and living for the future! Somebody has to do something, and it's just incredibly pathetic that it has to be us.
And Warner Bros. seems to be pretty much into re-releasing all of their catalog. So there's the Warner Bros. stuff and the stuff that we have control over, we're gradually re-releasing it. Some stuff we don't have control over.
I've had a lot of support from every corner of my life and my audience, to pretty much do close to what I want. I don't have unlimited time or money to execute my wildest dreams but I have enough get up and go to keep me going.
I'm not claiming divinity. I've never claimed purity of soul. I've never claimed to have the answers to life. I only put out songs and answer questions as honestly as I can. But I still believe in peace, love and understanding.
The two records are very different. I guess, on the second record, that's more where I was at. Its not that I'm more well-adjusted or anything, it's just that what I wanted to sing about maybe was more the way I wanted to feel.
I don't like girls who wear lots of make-up and you can't see their face. Some girls are beautiful but insecure and look much better without the make-up, but decide to put loads on. I like girls with nice eyes and a nice smile.
I feel that Christian music is a subculture directed towards the Christians. It's not really being exposed to non-Christians and it's not really created for non-Christians, so non-Christians almost never hear any of this music.
How many times can a rock star go over the top on drugs? How many times can a rock star be unfaithful to his old lady? It is really fu**ing boring, and that is what they do over and over and over. They just print the same sh*t.
You can look at 'Rumours' and say, 'Well, the album is bright, and it's clean, and it's sunny.' But everything underneath is so dark and murky. What was going on between us created a resonance that goes beyond the music itself.
I left school at 16 and my mother got me a job as a trainee wine taster. But one day I followed some girls into St Martin's art school and saw a voluptuous woman sitting on a stool being sketched. I decided to get myself fired.
We didn't like the idea of Dixie Chick action figures. I mean that's just the kiss of death for a group. How could a hip teenager enjoy the Dixie Chicks while their little sister is playing with a Martie doll in the other room?
If you were to ask me, 'What the hell does a musician have in common with a restaurant?' I would say a huge amount. It's show time every day, it's a team of people, like, running a circus, which is running a rock-and-roll band.
I can't say if I have influenced anything really, maybe a few artists but at the end of the day we are all influenced by various arts and situations around us, etc... all of us. I don't see or hear from any of the above, sorry.
Some musicians play with their heart, you know what I mean? I don't know what to tell a person that can't - if you can't tell a person what you're talkin' about when they're rushin' or droppin' the tempo, you get somebody else.
Why does the world need a Piano Day? For many reasons. But mostly, because it doesn't hurt to celebrate the piano and everything around it: performers, composers, piano builders, tuners, movers and most important, the listener.
What an awful thing then, being there in our house together with our daughter gone, trying to be equal to so many sudden orders of sorrow, any one of which alone would have wrenched us from our fragile orbits around each other.
I think part of what we do is there is a bit of dandy influence, always, or a little sprinkle of it. Not literal Savile Row dandy, but there's a bit of sartorial dandiness in everything that we do - every collection that we do.
When you look at so much of what we all love, there's either soul-based to it, or it's the blues. It's really the beginnings of any kind of music. It really is; it all starts there. Because after that, it's music of the moment.
Of course I'm proud of what I've done, but I'm interested in what's next. I want to be relevant now, in 2012. I've done my bit for the past. I've only ever been about what's next, really, and I'll be that way until I keel over.