Roxy Music Quotes
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I trust my taste. I trust it completely and I always have done, and I've always thought it isn't that different from everybody else's.
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I loved music from the age of eight. Jazz and blues. But also Little Richard and Elvis Presley.
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The only value of ideology is to stop things becoming showbiz.
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My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
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You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.
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You can hear the profile of a sound, in retrospect, so much more clearly than you did at the time. And I think one of the things that's going to be nauseatingly characteristic about so much music of now is its glossy production values and its griddedness, the tightness of the way everything is locked together.
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We're going through this super-uptight era, which I think comes entirely from literacy, actually. It's the result of machines that were designed as word processors being used for making music.
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Well, there are some things that I just can't get out of my head, and they start to annoy me after a while. Sometimes they're of my own creation, as well - and they're just as annoying. It's not only other people's ear worms that bug me, it's my own, as well.
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I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.
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I think that's very significant that we're so attached to the idea now of - it was something I advocated for years, that you can make music in studios, music doesn't have to be made as a real-time experience. But now you see the results of that in people who are completely crippled unless they know that they have the possibility of "cut and paste" and "undo." And "undo" and "undo" and "undo" and "undo" and "undo" again.
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A part of me has become immortal, out of my control.
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Although designers continue to dream of 'transparency' - technologies that just do their job without making their presence felt - both creators and audiences actually like technologies with 'personality.'
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.
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I don't like celebrity programmes - but I do like programmes about how ideas are formed and evolve.
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If something is good, you must torture it mercilessly until it is either dead or great.
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One of the things you do when you make a piece of art is you try to make the world you'd rather be in.
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American television really is pathetic.
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The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.
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In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
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I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
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For the world to be interesting, you have to be manipulating it all the time.
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If you're in a forest, the quality of the echo is very strange because echoes back off so many surfaces of all those trees that you get this strange, itchy ricochet effect.
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I don't like headphones very much, and I rarely listen to music on headphones.