Roxy Music Quotes
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I'm often accused of being ahead of my time, but it's simply not true. The truth is that everybody else is behind.
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The biggest crime in England is to rise above your station. It's fine to be a pop star. 'Oh, it's great, lots of fun, aren't they sweet, these pop stars! But to think you have anything to say about how the world should work? What arrogance!'
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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'd love it if American kids were listening to Muslim music.
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You can't really imagine music without technology.
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I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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Nearly all the things I do that are of any merit at all start off just being good fun, and I think I'm sort of building up to doing something else quite soon.
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All music has political dimensions because it suggests a way of being.
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My shows are not narratives.
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You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.
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I don't do interviews at all when I'm on tour, so this time, on a day off, I'll do that kind of thing a little bit. I don't do big promotion schedules, not when I'm touring.
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Sometimes you're quite fortunate, being on the stage, getting to meet people like Salvador Dali.
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Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
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One way of working is just bring a group of totally different musicians together and encourage them to stick to their guns, not to do the thing that normally happens in a working situation where everyone homogenizes and concedes certain points - so eventually they're all playing in roughly the same style. I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away. So there would be a kind of space in the middle where I could operate, and attempt to make these things coalesce in some way. In fact quite a lot of my stuff has arisen from that.
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It's actually very easy for democracy to disappear.
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I love good, loud speakers.
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Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.
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I always have wanted to know how the whole thing was done, what the process involved. And I don't particularly enjoy that my music is stripped of ancillary details, and it just sort of comes out of this big tap called the Internet like water. I like some of my water to be neatly presented in a bottle. With a label on it.
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Everything is an experiment until it has a deadline. That gives it a destination, context, and a reason.
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I like L.A., but I shouldn't live there.
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What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams - I would make one group which would be a combination of, say, Parliament and Kraftwerk - put those two together and say, "Make a record." Something that would be an extraordinary combination: the weird physical feeling of Parliament with this strange, rigid stuff over the top of it.
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But when you get music and words together, that can be a very powerful thing.
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I always use the same guitar; I got this guitar years and years ago for nine pounds. It's still got the same strings on it.
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The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.