I love the smaller clubs. I love the theaters. I love the festivals. There are things I don't like. At certain theaters, people can't get up and dance.
There's a certain type of indie fan who would balk at the prospect of there being value in pop music, but I think that's foolish. They're not really listening.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.
An Emraan Hashmi film has come to guarantee certain ingredients: An intense, grey central character, a beautiful girl - if he gets lucky, then two - couple of kisses, a few bold scenes, fabulous music and a climatic twist.
No matter what I do, my songs come out in a certain style, and if that sounds like Dead Kennedys, then there's probably a reason for it. Don't forget, I wrote most of those songs, music and lyrics.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
I started growing my audience in small clubs through word-of-mouth. I started making music that isn't necessarily commercially viable, and it's not necessarily marketable to my peers to a certain extent.
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'm playin' music for a certain type of person. Fortunately, there are more and more of us. At least there are more comin' to see me than there were 30 years ago or so.
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
I'm not terribly happy about rock and roll. Certain rock music is uninspiring, numbing; it makes you feel like an idiot.
I'm a big fan of the Pre-Raphaelites. Millais, Edward Burne-Jones, and I realised recently that my music is Pre-Raphaelite in a certain way, in that it reinvents an older era and romanticises it, puts it in this gilded frame.
I do think it's probably true to a certain extent that you tend to sing music that fits your voice. If you're Lou Reed, you're unlikely to become a country singer.
I've never really been schooled in music theory. I'm a guitar player, and I attack the guitar in a certain way that it not fully unique to me, but it's more unique that some other people.
A man's country is not a certain area of land, of mountains, rivers, and woods, but it is a principle and patriotism is loyalty to that principle.
Even if society dictates that men and women should behave in certain ways, it is fathers and mothers who teach those ways to children not just in the words they say, but in the lives they lead.
The men are much alarmed by certain speculations about women; and well they may be, for when the horse and ass begin to think and argue, adieu to riding and driving.
It may be true, that men, who are mere mathematicians, have certain specific shortcomings, but that is not the fault of mathematics, for it is equally true of every other exclusive occupation.
I can honestly, and proudly, say that I never was on the casting couch. Oh, of course there have been advances from certain men in the movie industry, but nothing overwhelming.
Why in almost all societies have married women specialized in bearing and rearing children and in certain agricultural activities, whereas married men have done most of the fighting and market work?
