I always tell myself, 'When I'm working on my record, I won't cut my hair.' I get so focused on the music that I'm not really going to the hair shop and getting cut up. I just have one thing to focus on.
I still have a passion for the music, which is such a beautiful thing. I still wake up in the middle of the night out of a dream and have a melody in my head, and run to my piano.
There is something suspicious about music, gentlemen. I insist that she is, by her nature, equivocal. I shall not be going too far in saying at once that she is politically suspect.
We're like old people now playing music. I'm so glad we stuck it out because it's a lot better. I used to feel kind of anxious. Now our apprenticeship is over.
The basic idea of a hyper instrument is where the technology is built right into the instrument so that the instrument knows how it's being played - literally what the expression is, what the meaning is, what the direction of the music is.
To break R&B into subcategories does a disservice to the music. I like to live in a zone where I can do whatever I want, where I don't have to worry about genre.
There are a lot of women at my gigs. The first show I headlined was a sea of women, which I can't complain about. I'm pleased these 18-year-old girls like my music.
Like anything important, anything you need people to hear - you've got to have music for it. You've got to make it at least a little piece of a song or sometimes a whole song.
Out of doing all that experimentation with sound I decided I wanted to do it with live musicians. To take repetition, take music fragments and make it live. Musicians would be able to play it and create this kind of abstract fabric of sound.
Jerry Bruckheimer is the most hands-on producer that I've worked with. Jerry's very involved in the music, and he's such a fan of film. When you watch him playing back the cues to the picture, he's like a kid in a candy store.
I like the way the stories of my relationships sound to music more than the way they look in print, in gossip columns or in me talking about them in interviews. I think it's a better way of telling the stories.
I think the first thing you should know is that nobody in country music 'made it' the same way. It's all different. There's no blueprint for success, and sometimes you just have to work at it.
You get to a point where it's like you can't really do anything right, and people will pick on you for whatever decisions you make, so I just try and take no notice and get on with my music.
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
I was never attracted to the pop world. I listen to music that is pop sometimes. But I've never thought, 'Oh, I need to work with Ne-Yo now.' It's never really been my thing.
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 have a sort of tactility about music. I go into record stores and just run my fingers over it, the spines.
Everyone is taught the essentials of writing for at least 13 years, maybe more if they go to college. Nobody is taught music or tap dancing that way.
This quality, I mean Geoffrey was with me, was very easy doing - he loved me very much, I loved him very much, and we understood each other so well that it was a pleasure to make music.
With Geoffrey, it was the first time we did music together, we understood that everything could be well, and without any problem. And we didn't need to rehearse too much.
Every writer writes in different ways, and so some write the music first, while others write the lyrics first, and some write while they are doing other things, and it is just nice to see how other writers are writing.
