Quotes of All Topics . Occasions . Authors
More pianos in hotel rooms please.
Girls are like pianos. When they're not upright, they're grand.
I've paid for more pianos in hotel lobbies than you can imagine.
I wish the government would put a tax on pianos for the incompetent.
Plus, there were so many pianos in my house, so I couldn't really avoid it.
I've had grand pianos that are more expensive than, like, a year's worth of rent.
Pianos tend to get better as they age, the more you play them. They grow into their sound.
For the most part, pianos are female to me. Sometimes they're dykes, and they're always good fun.
Pianos - if they don't like what you're saying, then they won't talk back to you. And you want it to talk back to you.
There are guitars everywhere around all of our houses. Pianos. Guitars. It's kind of just in our blood. It's in our nature.
I think it would be better if nobody owned anything, but they didn't starve. Had enough paint and enough pianos and everything else.
We used to move pianos in New York City, and one time, it was, like, eight guys on a piano that was made of glass. We were moving it for Alicia Keys.
It was a very odd household, because the grandmothers were so different. Both of them had their own pianos. So it would be duelling pianos by grandmothers.
I grew up with the British-Chicago crossover of house music with a lot of pianos and very heavy bass lines, but what I love about house is you can mix it up a bit.
If you play the very subtle jazz tunes with acoustic pianos, acoustic bass and it's a dead standard, you are going to play very differently. It depends on the music.
I was brought up west southwest coast of Scotland and my mother and father had a music shop, and so I was surrounded by pianos and drums and guitars, and music, of course.
Usually I can hear the pianos, the saxophone, and usually I can hear Ronnie. But I really need to listen to Keith and Mick. The rest of the band is sort of an embellishment to that.
I went to see one of those pianos drowned in tsunami water near Fukushima and recorded it. Of course, it was totally out of tune, but I thought it was beautiful. I thought, 'Nature tuned it.'
A trumpet sounds pretty much like a trumpet, and that's true of a lot instruments; pianos sound like pianos, but there's something about the guitar - the range of possibilities is much broader.
Well, I was very lucky. I was brought up west southwest coast of Scotland and my mother and father had a music shop, and so I was surrounded by pianos and drums and guitars, and music, of course.
My parents are musicians. I was listening to the radio and recording songs off the radio on cassette tapes and playing guitars and pianos. Just emotionally responding to music from a very young age.
We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.
Our daily life is filled with electronic pianos, ring tones, the disembodied voice giving you your bank balance over the telephone. Even silence can be electronic, courtesy of sound-canceling headphones.
When I was at school, I wanted to play a piano, and they said, 'No, that's for the classical students.' There's always been this air around pianos, which can very often discourage a young person from having a go.
Well, my piano's really beautiful. I actually have two pianos. I have a Yamaha upright from the '60s that's blond, wood, and black, and I also have one from the '20s from Chicago - not a well-known brand or anything.
I worship pianos like they are prize diamonds, and I never willfully do damage to them. But I grew up playing guitars, and you treat a guitar like a best friend or a little brother or a lover you have a tempestuous relationship with.
After the Second World War, I returned to California to study composition with Darius Milhaud, who wrote wonderful works like 'Le Boeuf sur le Toit' and 'La Cretion du Monde.' I especially enjoy his work for two pianos, 'Scaramouche.'
Everyone can write their melodies and chords and pianos and guitars, but what hasn't been discovered yet are tones and textures, and that's very exciting. Probably the No. 1 most important thing in my music is not to sound like anyone else.
Baldwin is sort of getting to be a bit funny. I don't know what happened, but a few years ago they suddenly went bankrupt and Gibson bought the whole outfit. Since then they haven't seemed to be doing an awfully good job of providing pianos.
I play only classical music. My pianos are my only big indulgence, but they're a necessity. When I'm playing the piano is literally the only time I can be completely abstract and disconnected from the regular world and yet be connected - to my music.
I really wanted to find a piano for the farm house. There were so many free pianos on Craigslist, I thought, 'Let's get as many free pianos as we can and stick them all in the barn.' I got eight in a short period of time, only six of which were tunable, but it's still quite funny.
From 1936 on, I have taken more falls than any other 20 comedians put together. From the time I was 21, I've taken them on everything from clay courts to cement to wood floors, coming off pianos, going out a two-story window, landing on Dean, falling into the rough. You do that and you're gonna have problems.
Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
Every time the mainstream media talk about progressive rock, they wheel out a clip of Rick Wakeman in a cape. For me, it's one of the most ambitious forms of music. The problem is that when it doesn't work, you end up with Emerson, Lake and Palmer doing symphonies with 60-piece orchestras and revolving pianos, which I think is ridiculous as well.