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And so my music, it doesn't matter if I did it 20 years ago or if I did it tomorrow. It doesn't go with trends. My trousers don't get wider and tighter every six months. My music just stays what it is, and that's the way I like it.
Today they forget you in five years. They give an artist nowadays four or five years and that's it. Some of them don't have that. They get a couple of releases. If you don't sell two million copies, you're gone, you're out of here.
In 1990 if you heard a song on the radio and you really wanted to hear it again you'd have to buy it on tape or CD. Hearing music doesn't hold that kind of value anymore because anyone can hear it. It's going to become even easier.
I think for anything to change, in the real world, people have got to change on the inside and that's what we want to start, to get people to think and do more themselves and get involved in whatever they want to get involved with.
The thrill of science is the process. It's a social process. It's a process of collective discovery. It's debate, it's experimentation and it's verification of claims that might be false. It's the greatest foundation for a society.
If I'm opening up for George Jones or playing a complete honky-tonk, I do true country music. But if it's a complete rock club, I'll do some country and a little bit of this hillbilly acoustic country metal or whatever it's called.
People will remember that the Tea Party was co-opted and funded by billion-dollar corporations, and that it was supported by Fox News and other outlets with the same vigor with which they attempt to denigrate the Occupy protesters.
If you're crazy enough to put your hat into the ring of speculation and punditry, you're going to get some turbulence. But if it's coming from some journalist with a comfortable degree of body fat, I'm not losing any sleep over it.
I'm 36 and if I met a woman of my own age and married her, I'd also be marrying her former life, her past. It might be OK for some people - I don't want to judge it or anything - but it's not for me. It would destroy my creativity.
In the late summer of 1986, the band I had been in for five years stopped playing. Suddenly, I was on my own. This new state of bandlessness was, at first, traumatic. When your group breaks up, a lot of broken parts hit the ground.
Entertainment's hard on the ego. I see why actors are so psycho now. Because there's so much 'we don't want you' going on in acting. Even big people get rejected but the smaller people - they really get rejected. Trust me - I know.
I feel like I missed a whole period of my childhood because I had a bunch of stressful things happen to me when I was like 17, 18, when people usually feel the most free in life, like going to college and like anything is possible.
I was 16 when I got a scholarship to study classical composition at a conservatory. By that time I had already listened to Scottish folksong with my mother, sung in church choirs, and had sung solo with Benjamin Britten conducting.
Children go with whatever makes them feel good - like if that's the color green or orange, they do that with their clothes. As I've grown older, everything reversed. My music, my personality - onstage those things became my colors.
I've got a hard road to travel and a rough, rough way to go. Said, it's a hard road to travel and a rough, rough way to go. But I can't turn back, my heart is fixed, my mind's made up, I'll never stop, my faith will see me through.
The guitar to me, from the classical/gut-string guitar right through to Hendrix, et cetera, has all the range [of sound]. Within those six strings it is incredible what one can get sound-wise. It's just down to imagination, really.
Im going to become the best-remembered artist of my generation by staying away from the party as often as possible. That way, people will remember me, not because I was great, but because I didnt cause them any later embarrassment.
I finished 'Beautiful Creature,' and I felt somewhat unfulfilled. I felt like this other side of me needed to be released. Some of the songs I left off the album weren't intense enough to be what I wanted. They weren't hard enough.
I feel so lucky that I met the love of my life. You know somebody's in it to win it when they're changing your IV bag or you're having a seizure and they're holding you. And helping you to the bathroom. You know that they love you.
Oftentimes, when people cut a record from analog tape to vinyl, they digitize the music first; I did a little investigating and discovered that most vinyl records that I've ever heard were digitized before they were put onto vinyl.
This band is a real collaboration, and I'm greatful to anybody who can appreciate our music. It doesn't have to be a certain kind of fan or person or anything. I think there's a little bit of something for everybody on this record.
I don't know about the time those songs were written. But he was jamming with someone in Colorado or San Francisco, and I'm sure he was working on the lyrics right up to the show because they were really relevant for the situation.
The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.
We'll go in one direction with one album, and then we like to do the opposite right away. But it's not like we ever have an idea before we start - that would be too artificial. It all starts from just sitting in a room and playing.
An upbeat song, for example, means one thing, but when you hear it with really vibey, mellow ambience around it, suddenly the same words may mean something else. Music is so powerful that way: It dictates and soundtracks our moods.
The burden of originality is one that most people don't want to accept. They'd rather sit in front of the TV and let that tell them what they're supposed to like, what they're supposed to buy, and what they're supposed to laugh at.
I knew I wanted to be in music, but I didn't know my role, so I did everything from interning at Rolling Stone to writing heavy metal fanzines to playing in a high-school band, and I think all those things probably helped in a way.
When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.
I have a lot of respect for these rock photographers. You realize that some of them were really led into the inner circles of some of these artists and bands. And you see how those photographs really capture the artist, the moment.
I was never that interested in business, to be honest. I do the minimal amount of business as possible because I'm not actually interested in it as a thing. But some people are interested in it, and there's nothing wrong with that.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
Tom Jones is funny to me, man. I mean, he really tries to ape Ray Charles and Sammy Davis, you know. He's nice-looking; he looks good doing it. I mean, if I was him, I'd do the same thing. If I was only thinking about making money.
I'm basically a happy person. I'm content with my life and my wife and my family. But you do reach a point where you start to question the absolutes that are supposedly out there, and you realize that there simply are no absolutes.
My muse is my wife. It's not some vague thing that flutters around the astrosphere or wherever it is. Sometimes as a songwriter you need something to hang a song on, to give it some kind of presence and form. For me, Susie is that.
I love Madonna! If you want to see the Madonna I know, just go on YouTube and you'll see those early interviews before the record came out. She was giddy and wonderful and giggly and happy and so excited looking towards the future.
When I got into the Beatles, I must have only been about six or seven but old enough to take notice. We used to have an old radiogram which, for readers of a certain age, was like a big cabinet thing with a record player inside it.
'Ageism,' or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. 'Oh, they're too old to make films or write books.'
For decades I'd flit from drawing table to typewriter to guitar with no sense of strain or contradiction. They all exercised the same psychic muscle (the Imagination), and working in one medium refreshed my appetite for the others.
Folk music was to strengthen and unify people, whether it was through an uprising and rebellion or whether is was through hard work, bringing in crops. But it was to strengthen each other and that's still what music is about today.
I became alcoholic at around age of 13 or 14. I was full-blown. Every day we would hide the alcohol, stealing from stores or stealing it from our parents and hiding out in dirt fields and drinking it before school and after school.
George was getting alot of independence for himself in those days. He was writing more, and wanted things to go his way - where, when we first started things basically went John and Paul's way. You know, 'cuz they were the writers.
I had rock-star dreams from 8 or 9 almost nonstop. I thought it was going to be like being a god on earth: having as many women as you want whenever you want them, having super powers, being incredibly wealthy, never doing laundry.
Alice Cooper's weirdnesses must really make the kids feel violent. These kids are like my sister, young people of 14 or so who've come to enjoy themselves. So you put things like that in front of them, and I don't think it's right.
We said we'd fly the flag without him and carry on. I didn't give him a kiss because I still hadn't accepted what was happening. I was hoping that some miracle was going to happen. Of course, it didn't. I wish I had kissed him now.
No charges have been filed by the L.A. district attorney's office, and for that I am appreciative. I have said it before, but we all make mistakes, and the day will come soon enough where you no longer read of mine in the tabloids.
All I can do is go by the words of Christ, who was the only talker we had, for f - 's sake. Buddha didn't speak. The Holy Ghost didn't speak. But I think it all boils down to the same thing - it's all about unity, love, compassion.
When I was a kid, pre-1994 was still apartheid, so we didn't get a lot the subversive music from the States or from the U.K. A lot of the music we would get was the poppiest pop music, so I've never really had a bad association it.
We had an extreme reaction to Storm Corrosion. We were proud of it, but it divided the audience. The metal fans were divided. Some went with it. Some hated it, since it wasn't the progressive metal supergroup they were waiting for.
I think that's one of the biggest problems in rock is people thinking too much, putting too much emphasis on getting things perfect or completely sorted out. Sometimes that sound of not having everything sorted out is kind of cool.
We kinda were a radio-rock band. We were still pretty technical, but I think the prog people hated us because we didn't do a bunch of weird time signatures... which are cool at times, but I'm more interested in progressive harmony.