Roxy Music Quotes
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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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John Cage made you realise that there wasn't a thing called noise, it was just music you hadn't appreciated.
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I set up situations that involve abandoning control and finding out what happens.
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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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If you are part of a religion that very strongly insists that you believe then to decide not to do that is quite a big hurdle to jump over. You never forget the thought process you went through. It becomes part of your whole intellectual picture.
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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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You can't have a relationship with a device whose limits are unknown to you, because without limits, it keeps becoming something else.
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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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Everything good proceeds from enthusiasm.
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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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One of the great breakthroughs of evolution theory is that you start with simple things and they will grow into complexity.
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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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The English don't like concepts, really, not from a pop star. It's alright if they come from an 'intellectual,', but from a pop star you're getting ahead of yourself. Part of the class game is that you shouldn't rise above your station, and to start talking about concepts if you're in the pop world is getting a bit uppity, isn't it?
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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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'Two Voices,' from my album with Peter Schwalm, is an intact dream-poem. I awoke one night with an image of a piece of paper and all the words of the poem written on it, so I just blundered down to the kitchen table and 'copied it out.'
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Ambient music is intended to induce calm and a space to think.
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My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.
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I love San Francisco and Brighton has something of San Francisco about it. It's by the sea, there's a big gay community, a feeling of people being there because they enjoy their life there.
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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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It's quite funny that, 20 years ago, one would have thought putting out a fragrance would [negatively] affect your musical credibility. Now it may enhance it.
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Don't be ashamed of your own ideas. Most musicians get applauded for sounding like someone else.
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Ambient music must be as ignorable as it is interesting.
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If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.
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Think inside the work - outside the work.