Every year I go to Broadway to see a musical - I like the music. I saw 'Mamma Mia;' I saw 'Les Miserables;' I saw 'Phantom of the Opera' like six, seven times.
I'm continuing to learn more about music - it's an ocean, and you can never really say that you know everything. I'm grateful that I'm still living and making music among the greats.
I played more of an advisory role with Public Enemy. I really trusted them to make the music that they wanted to make, and the way The Bomb Squad worked with the... they created their whole own world of music.
When I came here it wasn't that I was anti-Music Row, but it was like I was going against the grain of what everybody on Music Row was doing, and that's what has made me successful.
Everybody was on the same page. Nobody has really gone out there on a different musical journey. When we got back together again, we all wanted to do the same kind of music.
The steps must be second nature to me, so that the music seems to be drawing the steps out of me and I don't look as if I'm struggling to fit the steps to the music.
I wasn't writing the music. Ed would write a piece of music. I'd listen to it and come up with a melody and then we would arrange it. We'd put it together and I would write lyrics to my melodies.
I've actually been playing music ever since I was a young a kid. I got my first guitar when I was about 7 or 8 years old, so I've always been doing music.
I have always been a person who is concerned with the dignity of jazz music and the way jazz musicians have been treated and are treated, and the fact that the music has not been given the kind of due that it deserves.
You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.
I've always considered transcribing to be an invaluable tool in the development of one's musical ear and, over the years, I have spent countless glorious hours transcribing different kinds of music, either guitar-oriented or not.
To be honest, because there's loud music in my ears probably three hours a day, between sound check and the show, I listen to podcasts more than I listen to music on the road.
After that I didn't listen to music as much because '70s music just wasn't... I remember all the songs, but it wasn't because I was into them, you know what I mean?
I don't like the word 'urban' because I think it's a bit of a generalisation and they use it to class music, but I don't think it's a word that necessarily classes music.
From my time in 'King Crimson,' I'd describe a Progressive band as one that keeps trying to break musical barriers, and keeps trying to do new music.
I just had to find something else to fulfill me. Always being a singer and writing, it was a blessing. My brother started making music that was the kind of music I always saw myself singing.
Music is shared. It's a shared feeling; that's what music is all about. When you listen to a song with someone else, it becomes more than just a song. It defines relationships.
Every once in a while, we have some sort of movement in music that everyone suddenly wants to work in, like grunge or rap or disco or some other musical phase, and then suddenly, that'll be the thing to do.
The music I always liked as a kid was stuff I could bum out to and realize, 'Hey, someone else feels that way, too.' So if someone can do that with my music, it's mission accomplished.
I really like Alan Jackson, in Country Music. I think he's really very, very talented along with George Jones, and Merle Haggard, the same old favorites.
Most music that you hear is in synch with itself. We were experimenting with the music falling out of synch with itself and even though it is out of synch you mind can still understand what it is meant to be doing.
