Poems can't help but be personal. Mine are certainly an accurate blueprint of the things I think about, if not a record of my daily life.
I still go to that church now, and they don't believe in instruments in the church. But, my brothers and sisters in the church will listen to me. They will come out to a place to see me play. They will buy all of my records and everything, but they don't believe in bringing that instrument in the church. But, they'll come and watch me somewhere else. Why that is, I don't know.
Speaking of WAMU, [bluegrass and old time music DJ] Ray Davis did a lot of work there. I've know Ray, I guess for 50 years - 40, or 50 years. And, he plays a lot of my records.
I'd entirely forgotten about Pass The Distance, and then I went to Japan in 2000, and was asked to do interviews with all these journalists, who were showing up with bootlegs of this record, asking me to talk about it. I was astonished. It kind of gained momentum.
I had ideas about music and sound and listening and time and so on that I wanted to pursue as an individual, and by doing that book, Brian [Eno] opened the door, and he decided to do a record based loosely on the book.
The Musicians Union declared you couldn't mime on Top Of The Pops, which is obviously impossible, if you've got a studio-based record that you'd worked on for a year or something. And there were a lot of terrible performances. Because on Top Of The Pops, you were just thrown onstage.
We drank quite a lot and Tony Harrington said, "We're thinking of starting a record label at The Wire; how about you do a solo record?" I said, "Well, how am I going to do that?" I thought about it, and I'd been working on a lot of music in the years before, and I was working as a journalist, full time, really, up until that point; in whatever little spare time I had, I was working on music. So I said yes.
I remember I did quite a lot of interviews when the book and the CD came out, and I did a drivetime interview for Radio London or something. You wouldn't immediately associate the music on Ocean Of Sound with drivetime radio, but people found things that they liked, and the DJ was playing some records at 5 o'clock in the afternoon on a weekday.The man who was playing them said to me, "That Peter Brotzmann track, it's like having your head boiled in acid."
I'd been listening to African-American music since the first record I ever bought, which was by Sam Cooke. And it sounds more like my private thoughts that I never thought I would be able to articulate - I never thought I would be able to express publicly.
When you make a record and have to go out on tour for it, you have to go out on tour for it. Whether it's going to be joyful or not, you have to do it.
He [Patrick Stump] is been a friend of ours for a long time, and when we were talking about working with different producers and songwriters for the record, Patrick's name came up. We were excited to work with him - he's a very gifted lyricist and songwriter, and a really cool guy and it was a pleasure to work with him in the studio.
We never really set out to talk about California on the album ['California'], it was something that we noticed that was happening about three-quarters of the way through the recording process. We were looking at which songs we thought would make the record and we realised that there was this theme coming through. I think it's just a product of being in California for as long as I have.
I think with each record, I don't know ... they're like burdens.
You go through that stage where you're coming up with the concept, ideas and all that you need to make a record. It always feels like hard labor.
We need somebody with a proven track record of competence, leadership and what you see is what you get.
I know I'm not a showy politician... I don't go drinking in parliament's bars. I don't wear my heart on my sleeve, I just get on with the job in front of me and you can judge me by my record.
Not only my favorite producers, but those are actually brothers, they're part of our We The Best family. To me, they're the biggest guys out, and the music they produce and the records they put out are phenomenal records.
The world is a very, very, very big record. We just have to learn how to play it.
A major shortcoming of the Resistance is the outnumbering, before long, of the genuine warriors by camera-carrying midgets intent on leaving a record of their purported heroism.
If I'm not in an environment where I can record, it's great to be able to write something down, to be able to know how to do that, to be able to write notation. You grab a piece of paper and there it is. It's the cheapest recording equipment you can buy: a piece of manuscript paper and a pencil!
The music brings me confidence and freedom. It's also the thing that can make me feel the most vulnerable. Once I finish writing all the songs for an album, once I actually record them, that whole process is usually easy and enjoyable. The part where I feel the most vulnerable is when it's all finished, I can make no more changes, I've turned it in, and there's no going back. All of a sudden I hear the songs in a different way; that's when I feel vulnerable.
Touring with the record out - shows are so much more fun now that n - - s know what I'm talking about.
We must apply a judicial, not a political, standard to this record. Asking a judicial nominee whose side you will be on in future cases is a political standard.
When I look at that record in light of the 1985 job application to the [Ronald] Reagan Justice Department, it's even more troubling.That document lays out an ideological agenda that highlights Judge Samuel Alito in belonging to an alumni group at Princeton that opposed the admission of women and proposed to curb the admission of racial minorities.
I think it is now widely understood that the so-called "War on Drugs" has largely been a failure. Too many people have developed criminal records for smoking marijuana. Too many people have gone to jail for nonviolent crimes. So I think it's important for us to rethink the war on drugs.
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