Roxy Music Quotes
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I'm fascinated by musicians who don't completely understand their territory; that's when you do your best work.
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The problem with computers is that there is not enough Africa in them.
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The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band.
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It must be really hard to be starting out in music now.
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The problem with fine art is that in most cases people have to make a special excursion to go and look at it: they can't afford to own it. So it isn't really part of their life in the way that music can be.
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I often say to people that producing is the best-paid form of cowardice. When you produce things, you almost always get credit if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work.
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Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
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Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.
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Words can be very powerful. I find them very difficult.
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It's good having a lot of different songs to choose from to do the show. It means you don't get bored of doing it in one particular genre.
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I'm obviously in the latter camp. I think that people respond better to reward than punishment.
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I will be putting out a fragrance - I'm following in the great steps of Puff Daddy.
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Other bands wanted to wreck hotel rooms; Roxy Music wanted to redecorate them.
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When I was at college - that was the first time I tried singing. I played in a band, and people seemed to like it.
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Software options proliferate extremely easily - too easily, in fact - because too many options create tools that can't ever be used intuitively. Intuitive actions confine the detail work to a dedicated part of the brain, leaving the rest of one's mind free to respond with attention and sensitivity to the changing texture of the moment.
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When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.
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It must be quite mysterious to some people why I bother to carry on. Because, you know, I don't sell that many records.
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When I stopped touring in the early '80s for a few years, it was a mistake looking back. I lost touch with my audience in a way and I think that was a bad career move.
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I like the name Atomic Kitten. It's so great.
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I can't drink a wine if it has an ugly label.
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It's fabulous when you do that, when you discover somebody who you like, when you kind of feel those feelings, even though he articulates them better.
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I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them "Our exercise today is not to use 'undo' at all. So, there's no second takes. Or, if you do a second take, you have to do the whole take. There's no sort of drop in, change that little bit". The session broke down in, I'd say, 40 minutes. It was impossible for people to work in that restriction any longer.
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Everyone in rock 'n roll including myself was touched by Elvis's spirit, I was, and always will be a fan.
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It's insane that, since the Beatles and Dylan, it's assumed that all musicians should do everything themselves. It's that ridiculous, teenage idea that when Mick Jagger sings, he's telling you something about his own life. It's so arrogant to think that people would want to know about it anyway!