Once I got the open tunings for some reason, I began to get the harmonic sophistication that I heard that my musical fountain inside was excited by. Once I got some interesting chords to play with, my writing began to come.
Musically, I don't think I'd ever dry up. I trust my musical invention.
If you saw my musical collection it's absolutely horrendous, I've got everything from Stockhausen to The Beach Boys to Gina G, all sorts of terrible things and other people come here and look at my record collection and go, "Ah, you can't possibly like that - how embarrassing!"
My father had a phase of having jukeboxes all over the house. He was a music lover but he was also into musical machinery. Not instruments, he was never interested in playing particularly but there would be these odd objects, like valve amplifiers being dismantled on the kitchen table. My mum wasn't massively keen on that, but it was part of the environment.
There's a really rough and relatively consistent hierarchy of concerns. My musical interests come first and principally my fascination with how notes and rhythms interlock. Then comes the technical side like programming, instruments and designing instruments. Next is production and mixing and beyond that I start to care less.
I wanted to focus on songs that I was inspired by growing up. I love so many of them from the last 100 years, but I really wanted, for my first step forward, to choose material that has inspired me and got me into the world of musical theater.
Personal chemistry forges the way for musical chemistry.
When I was 18 years old, I went on the road with my dad after I graduated from high school. And we were riding on the tour bus one day, kind of rolling through the South, and he mentioned a song. We started talking about songs, and he mentioned one, and I said I don't know that one. And he mentioned another. I said I don't know that one either, Dad, and he became very alarmed that I didn't know what he considered my own musical genealogy.
While visiting places in the South with my heart really open, I realized how important people in certain geographical spots were to me, what they symbolize, how I'm still connected to them and how much they are a part of my ancestry, both musical and real.
My earliest musical memory was getting to watch my dad play drums in a local band. He's a banker by trade, but a drummer at heart. I remember seeing the guitar player do the solo from "Werewolves of London" with his teeth, and that was the moment that had me hooked.
The record is definitely a musical journey. It's kind of all over the place, which I like.
When I was 14-15 years old I was able to earn a little money from time to time but I'm not complaining since, very soon I could provide a normal living. I was discovered also by other musicians and they asked me to work with them. Even in my early age several well-known artists asked for my services both on the stage and in the studio. This experience proved to be very useful, musicians showed me various musical situations and various music experiments.
So I always liked to sing, and apparently when I was about four or five I also started to be attracted to pianos and musical instruments. Whenever we went to a friend's house, I vaguely recall climbing up on the piano, plunking on it, and trying to figure it out. So my parents figured I was interested and asked me if I wanted to take piano lessons. I said sure.
It's the opposite of that. Engineers in lab coats have created a musical experience that is so crisp and clean, it can literally improve your hearing.
What about Broadway? Yes, I'm involved with a new musical based on 'The Adams Family.'
Never take liquor into the bedroom. Don't stick anything in your ears. Be anything but an architect. Live in a nice country rather than a powerful one. Power makes everybody crazy. Get somebody to teach you to play a musical instrument.
My musical life started with hearing and being fascinated by contemporary music.
Oral musical traditions are rooted in assured and scrupulous faith.
My favorite thing to hear from people is, 'I left the theater and couldn't stop thinking about it.' You want your work to have an impact after they leave the theater. It's the equivalent of leaving a musical humming a show tune.
Mozart encompasses the entire domain of musical creation, but I've got only the keyboard in my poor head.
We are still not in the Rock & Roll Hall of Fame but there are 3,000 Kiss products, a Kiss musical toothbrush, everything from Kiss caskets to Kiss condoms. There are no Radiohead condoms.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
I have heard Ori Kam on several occasions over the last few years and have always been deeply impressed with his playing. He possesses a rare combination of musical talent, technical facility, intelligence, and charisma, and he is undoubtedly one of the most extraordinary young artists I have heard in recent years.
Without question the most unpopular medium of musical sound in the world.
The truth is I love musical theatre and always have.
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