Roxy Music Quotes
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And Mary J. Blige, she's got all these fur coats and hats and stuff. She's good; I like her.
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The whole point of art, as far as I’m concerned, is that art doesn’t make any difference. And that’s why it’s important. Take film: you can have quite extreme emotional experiences watching a movie, but they stop as soon as you walk out of the cinema. You can see people being hurt, but even though you feel those things strongly, you know they’re not real.
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I have a definite talent for convincing people to try something new. I am a good salesman. When I'm on form, I can sell anything.
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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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Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable sic as it is interesting.
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Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
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I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.
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Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
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We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
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I did some songs for Baz Luhrmann's The Great Gatsby. I had done a jazz album of Roxy songs, and they used bits of it in the film. It would be nice to score a movie one day.
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Quite often, and in fact more often, I would say, I'm struggling all the way through to think, "What is it I like about this? What is the personality of this thing I'm hearing that I like so much?" And it's nearly always a sort of mixed emotion, which is why I like it. It's something that I have mixed feelings about in the sense that it's both, say, placid and dangerous, or bitter and sweet, or dark and bright.
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The tools are evolving, and people's interests are evolving as well. So, suddenly people like to hear bands, people like Devendra Banhart or the xx, bands that make a kind of virtue of sloppiness. That isn't what they would describe what they're doing, but the fact is they make a virtue of the sort of hand-made nature of what they're doing.
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I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.
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In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the - they've had a whole series now of these things called Kaoss Pads. They're wonderful because they do get your muscles working again. And what DJs do, of course, with their DJ turntables now, the CD turntables, which have pitch change and speed change and everything else. They're doing something that I think is interestingly physical.
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I've done shows with orchestras, and I like writing with orchestras.
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At home I don't really have any drum machines or anything like that, I just have a piano and a cassette machine, an old-fashioned one, an old relic which I've always used.
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I never wanted to write the sort of song that said, 'Look at how abnormal and crazy and out there I am, man!'
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Get down with your old Allman Bros. records!
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I suppose young people think football is glamorous - soccer - it's big money and the stars of it, they look good and have a great big house and a huge Ferrari.
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When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape. I always record everything, even a run through where you're trying to get in tune. That's a principle because sometimes when the situation isn't clear interesting things happen, and they are worth listening to again.
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I, I wish you could swim Like the dolphins Like dolphins can swim Though nothing, nothing will keep us together We can beat them, forever and ever Oh, we can be heroes just for one day.
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I think audiences are quite comfortable watching something coming into being.
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Roxy was just going too safe, and at the time I was also a bit pissed off at the business—not with playing, but with the people in it.
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I take sounds and change them into words.
