Roxy Music Quotes
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Pop is totally results-oriented and there is a very strong feedback loop.
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A way to make new music is to imagine looking back at the past from a future and imagine music that could have existed but didn't. Like East African free jazz, which as far as I know does not exist.
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In art, you CAN crash your plane and walk away from it.
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My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
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I've noticed a terrible thing, which is I will agree to anything if it's far enough in the future.
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Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
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Gospel music is never pessimistic, it's never 'oh my god, its all going down the tubes', like the blues often is.
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The trouble with New Age music is that there's no evil in it.
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One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
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I'm always interested in what you can do with technology that people haven't thought of doing yet.
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I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
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As struggles go, being an artist isn't that much of one.
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The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.
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I've discovered this new electronic technique that creates new speech out of stuff that's already there.
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Control and surrender have to be kept in balance. That's what surfers do - take control of the situation, then be carried, then take control. In the last few thousand years, we've become incredibly adept technically. We've treasured the controlling part of ourselves and neglected the surrendering part.
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I think that sex, drugs, art and religion very much overlap with one another and sometimes one becomes another.
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I suppose I am reluctant about being any sort of 'star' and I didn't particularly want to be portrayed as one.
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The great benefit of computer sequencers is that they remove the issue of skill, and replace it with the issue of judgement.
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When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.
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If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.
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I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.
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I want to rethink 'surrender' as an active verb.
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I think one of my pursuits over the years is trying to answer the question of, 'What else can you do with a voice other than stand in front of a microphone and sing?'
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You can't really imagine music without technology.