With Fred McDowell, I just love the way he articulates the notes. I'm hardly unique in that, but there's just something about that that I love.
A horn has that voice quality, and an electric guitar can emulate that. But playing an acoustic, the notes don't sustain like that.
I'm learning how to work my voice. I got some songs that you probably wouldn't even know it's me singing on there. I will sit there and take 20 takes until I hit that note right. It's different on stage - you've got to hit the notes that one time.
Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.
You can't be unique any way. Music is made from seven notes. You will always come back to something. Even if you think you are unique, you will come back to something that existed before you were doing what you are doing.
The program I use is called MED Soundstudio. It's basically a column of numbers that relate to pitch, duration, the type of sound. If I want to play a chord, I have to press keys on a keyboard - like a computer keyboard, on my Amiga - that relate to sharps and flats, note by note.
I had good innings, as the British say. I wrote for 38 years at the top of my form, and I wanted to quit on a high note.
I don't read liner notes and stuff, and I don't read articles very often.
Being in TV is insane. The notes you get sometimes, I just don't understand them.
Just because I said lyrics are a sign of the inability to sing doesn't mean....A) I believe that, or B) I don't think they're cool. They are cool. Words are great. I sing along with my favorite songs, but when I am drumming and singing, the words become a note that for me. In the process of playing they have more emotional impact as notes then an actual word.
I started playing bass in my friend's band for some reason. It was just something I did because, well, he asked me if I wanted to play bass and he played me this song - Nirvana's version of "Molly's Lips", the Vaselines song - and he said, "You can do this! This is not hard!" and it's like a two-note song. I learned that and then I thought I was a genius.
I'm not an amazing trumpet player. It's mostly smoke and mirrors. You shake the trumpet and it starts to vibrate in a ridiculous drunken way, or you flop notes at the right time and you don't have to play stuff that would take seven years to learn.
The lovely thing is, if Marvel had a Spider-Man movie over at Sony or something, they own the rights to the character, and the editors and producers make suggestions and get notes and things. But you're talking about Matthew Vaughn and Jane Goldman. They're two of the best people in the world. The notes are just things like, "This is absolutely brilliant."
On a musical level, I do find it rewarding. It's not like I want to blow my brains out while I'm playing these songs from so long ago. I am still surprised by the way the songs are constructed - note choices, the way the arrangements are made, the way these songs are assembled. I'm still amazed at times.
After you free yourself from the incredible expectations of love through the media from the time you were so high, you realise that it's the spaces between the notes that make music.
I don't think that if I had spent the time that I was in, say, Belgrade, writing about my time in Trieste, which is where I had just been, that would have been productive. I told myself: take extensive notes while you're there, do the research part of it, and then pray, pray, the muses will be available when the actual 'ready' happens.
If I had cast someone else who didn't have that kind of timing, it would have been leaden and one note. But Ann [Morgan Guilbert] made her really human and really funny without being caricatured or over the top. She feels like a real person.
I'd probably have to leave home in order to become a basketball player of any note.
When I discovered blues - I was 12-years-old - I didn't discover it in America where it was from; I discovered it from Fleetwood Mac - the original Peter Green Fleetwood Mac, Saveloy Brown - like British blues interpretations of it,' which then, when I started the liner notes and seeing all these names, I was like, 'Who's Willie Dixon?' Then I go to the record store and ask the guy there and he goes, 'Oh, you don't know anything.' And so, to me, that's the root of most of it anyway.
I used to audition for musicals when I was in New York before I moved to L.A., but I couldn't quite hit a certain note, so I saw a teacher in L. A. who helped me get better at it. She showed me how to use a different part of my voice. You are never too old.
Write hand-written notes daily and commit to supporting the growth and self-esteem of children, because it makes such a big difference in terms of their capacity for learning.
I think that there's etiquette for every means of communication. People are very judgmental and have strict rules. I don't think you should end a relationship with a Post-it note. I know some people who get offended when an e-mail is sent as a "thank you" note instead of a hand-written card.
Sometimes you can define a composition or a couple of notes by the silence that goes around it.
I'm one of those actors where usually I'll read a script, and then I'll have a flurry of notes. I'll ask a hundred questions about things, and really get in there and examine it.
I'm always on to something else. It's like, I'm sitting here now jotting down notes for something that's in my head. There's always something going on in my head, and I have to just keep executing.
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