Roxy Music Quotes
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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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It must be really hard to be starting out in music now.
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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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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'm fascinated by musicians who don't completely understand their territory; that's when you do your best work.
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Attention is what creates value. Artworks are made as well by how people interact with them - and therefore by what quality of interaction they can inspire.
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If there is a new fascism, it won't come from skinheads and punks; it will come from people who eat granola and think they know how the world should be.
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Other bands wanted to wreck hotel rooms; Roxy Music wanted to redecorate them.
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I can't drink a wine if it has an ugly label.
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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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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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The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band.
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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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I like lots of songs, and I find it quite interesting to do [cover songs] from time to time. My first solo hit was in 1973, the Dylan song “A Hard Rain’s Gonna Fall.”
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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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Words can be very powerful. I find them very difficult.
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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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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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I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.
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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!
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If you've spent a long time developing a skill and techniques, and now some 14 year-old upstart can get exactly the same result, you might feel a bit miffed I suppose, but that has happened forever.
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The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
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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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The problem with computers is that there is not enough Africa in them.