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I mean, if you decided to go out today and get you an instrument and do whatever it is that you do, no one can tell you how you're going to do it but when you do it.
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I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.
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It just makes that person feel that what his work is is going to be more valid. But who wants to see a guy standing in front, looking like a bum, doing something that a bums don't do? This don't make sense.
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Most of my relationships have been like that - with record companies. I've never had a legitimate business relationship with a company. I've always had a personal relationship with someone in the company.
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That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.
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I'm having this conversation with you now. I'm talking, but I'm thinking, feeling, smelling, and moving. Yet I'm concentrating on what you're saying. So that means there's more things going on in the body than just the present thing that the person's got you doing.
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If you decide you want to be treated good, and you treat someone else good, or you want to learn something, it's information. It's getting the right, good information.
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I wasn't so interested in being paid. I wanted to be heard. That's why I'm broke.
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I've been playing with Blackwell over 20 years. We used to play when I first went to Los Angeles. Blackwell plays the drums as if he's playing a wind instrument. Actually, he sounds more like a talking drum.
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I think that those elements - light and sound - are beyond democratic. They're into the creative part of life.
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The only thing my mother would say about my music-I'd say, 'Mom, listen to this,' and she'd say, 'Junior, I know who you are.'