We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.
I'm involved with a baroque opera company here in Italy. I write some of their booklet material, comments on operas. I also write for some baroque opera festivals because this music is my real passion.
I do like classical music, and soft rock, and jazz, which I never listened to when I was 15. Now I like it. The older you get, the more tolerant you get, right?
I'm not the mixtape guy who's gonna put out a new one every month. I'm gonna allow my albums to marinate and resonate and whatever type of 'ates' they can do. I'm gonna let my music grow on them.
I was always just into my music and maybe into trying to save the world a little bit. I never really thought I'd have a hit record or anything like that. I was prepared to travel around all over the country, kind of like a Johnny Appleseed, and sing.
I think country music is popular - has been popular and will always be popular because I think a lot of real people singing about a lot of real stuff about real people. And it's simple enough for people to understand it. And we kind of roll with the ...
I listen to a lot of different stuff, from Mozart to Johnny Dowd to Monster Magnet. I don't listen to music while I'm writing a draft, but I do listen to it when I'm revising.
It's the first time I have returned to my roots - like going back to be a trio. The fans really wanted me to go back on stage and do the Supremes music, so I went about trying to make it happen. We'll go on tour in the summer.
When I'm writing, I'm thinking about how the songs are going to play live. Fifty bars of rap don't translate onstage. No matter how potent the music, you lose the crowd. They want a hook; they want to sing your stuff back to you.
I think 'Horace Silver' was actually the first live jazz group I ever heard back when I was a kid in St. Louis. So along with most players of my generation, I have a real affection for the music of 'Horace Silver.'
You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until y...
I've sort of had an investigatory relationship with being a musician. I really wasn't sure what I wanted to do. I felt I had had my run - I had done Jane's and I wasn't particularly interested in music anymore.
As my other obligations are beginning to take an inordinate amount of time, I have asked to step down as WMG's board chairman, effective January 31, 2012. However, I will remain a director of the company and in that way, continue my association with ...
I don't think I was ever particularly mean. I can certainly think of some idiotic exchanges I've had. I was accused of destroying pop music, like Wagner destroyed opera - a guy in Germany started ranting that at me.
Very much like that, and very much a loner, do you know and I didn't fit really into sport or all kind of group activities as a kid, I couldn't find a niche. And music was not really part of the kind of village curriculum it would, you know.
Since I met Starsmith, my producer, I really feel like I'm making music because we write it together and produce it together. I've got a proper involvement in the end product as opposed to just writing a song and finding someone else to produce it.
People always try to find my agenda, but I don't really have one. It's safe to say that I make pop, but I think that I'm doing important music, too. I've just always done what I wanted to do.
It comes back to the same old question people are always asking me: 'When are you going to do a solo record?' Well, if I did, it would probably be similar to 'Baluchitherium,' meaning it would be Van Halen music - which I write anyway - but without s...
When I was to come to Washington the first time as Music Director of the Boston Symphony, Mrs. Johnson phoned us to find out if they could give us a party and who we would like to meet.
Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true col...
Others are keen to see if natives other than us live better than we do, without heat in pipes, ice in boxes, sunshine in bulbs, music on disks, or images gliding over a pale screen.
