I don't know if a song is going to be a hit or it's going to flop. I never know. I just do the music and if people like it, they like it.
As long as someone wants to hear my music, I don't care if it's a ringtone or the album or whatever.
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.
Well I guess my music came to prominence around one piece called 'In C' which I wrote in 1964 at that time it was called 'The Global Villages for Symphonic Pieces', because it was a piece built out of 53 simple patterns and the structure was new to m...
Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
I had been interested in Indian music and I actually started studying Tableaus before I met him.
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.
So, essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
People get comfort from music. They get joy from it and understanding from it, and most of all, the average person can't do without it in some sense.
It's hard for me to say that what I'm doing isn't even really music, because deep inside of me, what I want to do is much greater than music.
When I got out of the Nazz, I had it in my mind that simply to be eclectic was an important aspect of making music. It was something that I derived from The Beatles.
When I got out of high school, I was in a blues band. It was the kind of music I was interested in, and listening to, mostly because it was becoming a vehicle for a generation of guitarists - like Jeff Beck and Eric Clapton. Mike Bloomfield. And that...
It's nearly redundant to enumerate the reasons The Beatles are important. There are probably different reasons why The Beatles are important to a musician like myself and to the millions of Beatles fans who just enjoy listening to the music.
My father was not really into popular music; I had to learn about that for myself.
It's no longer necessary to slave over the vocals. I don't sing the lyrics until I write them, and singing is the very last thing I do. I record the entire track, and then I worry about lyrics and vocals. The music will suggest where the words are go...
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.
I certainly have a fascination with pop music as a musical form, not necessarily as a lifelong commitment. I guess you could say I'm like a Casanova of music. I can't seem to settle down with one musical form.
I've become kind of a haven for people who like pop music, but that's not the only thing they like. They also like music in general and want to be able to expand their own horizons. They haven't completely given up on music and are willing to have so...
People have always said that I could have been a highly successful pop artist, if only that were my intention. It never was. My original intention was to be a kind of behind-the-scenes participant in music, to just be a record producer and engineer. ...
I've always done very 'composed' music and worked-out solos. But sometimes it's fun not knowing where you're going.
I found that when I was putting my own music out, with my Twitter feed as the pure marketing budget, I'm preaching to the choir.
