Singers, musicians, and songwriters don't want to use the word "acting" because we want it to be more real than that - we want it to come from us: naturally, truly, really.
I guess I feel like; if you're doing something and people are accusing you of appropriating something like that so obviously, then I would feel like I've failed as a creative person. It's just like stealing something and doing some sort of slight alteration to it - I'd feel like I'm not doing my job as a musician, or as a creative person - if it's just obvious like that.
As a producer, I like to bring in unexpected voices, unexpected musicians, like Watt and Joey Spampinato of NRBQ.
You can't get a guitar player like Dweezil without his commitment to the work that it takes A) to be the musician that he is and B) to the music itself.
Musicians more than most people are in the moment. That's the dual nature of that job.
Frank [Zappa] always wanted to do a sound library - he sampled so many great musicians. For piano, for example, he sampled every octave, not just one (that you could just transpose electronically), and he did all different types of attack, with and without pedals, all that kind of stuff.
My daughter Meredith Moon from my second wife has a band that does Appalachian music, with five-strong banjo, clawhammer style. I may have to direct her somewhere. Meredith was my middle name. I would have to direct her because I am always directing something. She's in the musician's union and she is only 21. Your kids surprise you.
I don't think that those things [so called common practice] ever truly existed in the way that we like to believe that they do, the way we learn about them in music history class. Those things are defined at least decades after they happen. And even then, it's a fallacy because when you're in the moment, when you're in a thriving scene of musicians, inevitably everyone is going to be doing something completely different from everyone else
I want longevity; I love music, being a musician is the greatest gift in the world to me, and if I were to get signed to a label, my family and team around me are always gonna be there to make sure they want the very best for me. My fans are what it's all about.
In actuality it's drum samples in the computer. I don't know, I've just never really dug into that whole technology thing, I feel like it hurts me as a musician a little.
It's usually important to me to get my idea out first because a lot of times my ideas will seem weird to musicians.
So many policy decisions that effect musicians are being made without any input from musicians at all.
Mostly, the people in "the room" are paid lobbyists representing interests that could afford to pay them. No wonder policy isn't being made that helps smaller, independent musicians or those unaffiliated with a larger entity.
I'd done all my research and seen that Booker and Gadson had worked with giant folks and little peanuts, too. That just showed me that they're musicians. They're not just interested in doing the big ones, they're interested in doing stuff that - pardon the expression - gives them a boner. I'm like that, too. I don't want to just do easy stuff. I want to keep myself freaked out all the time. Hence the title of the record, I Like To Keep Myself in Pain.
I really like Katy Perry and the music she does. She's an amazing musician and it's an honour to be opening for her in London.
Usually, I think it's best to play the song for them once and have them mix it up on the spot, because when the logical mind gets too involved, I think it kills a lot of magic. I just think the subconscious mind is so much smarter, and unfortunately, people do not trust their subconscious. A lot of people just don't access to all of that, the secret genius that's inside of them. And it's so much easier to get it out of a musician if you don't give them a chance to overthink.
I just know of so many musicians who burn out because they go on tour and they have to play their one-hit song over and over and over and over again. And they are not moved by their own song. And then when you go and see them perform there's something off.
Most of the musicians that I'm playing with now have jazz backgrounds, so they're comfortable with improvisation. And they all know to make eye contact with me, and I'll give them some kind of sign when I think that the song's ending. Or maybe I don't even have to, because they all sort of feel it at the same time.
Like the ability of all the musicians to end the song at the right time. Or when it's time for a chord change, but nobody knows what the chord should be, and you all, you know, it all just changes, magically, at the same time. It's when you pick up your phone to call someone and that person is calling you.
So Nemerov showed us this picture, which is of Apollo flaying Marcius. You don't think of Apollo as being the sort of person who would skin someone alive. But the story behind it was that there was this guy who was a really great musician, and all the women loved him, and people started saying he was the best musician in the world, so Apollo got jealous and he challenged this guy to a musical dual. They would each play a song and the muses would judge who was the better musician.
I'm not a corny-ass booty freak! I'm the greatest musician of all-time.
My life has had a lot of fits and starts: before I studied literature at all I was a musician, and began undergrad as a conservatory student. I started studying literature in my third year of college, when I took a poetry course with James Longenbach that was pretty extraordinary. It changed my life.
Even though I don't sing any more, singing was my first education in the arts, and it's clear to me that my training as a musician also shaped me as a writer.
I realized, that the life of a musician, even of a very lucky, very successful musician, wasn't really the life I wanted: I hate travel, I hate living out of suitcases, I hate the constant anxiety of being on stage.
Any musician with a slight level of self-awareness can be taught to write a 'good' song. A great song is completely original. It feels as if the performer is the only person who could bring it to life.
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