Quotes of All Topics . Occasions . Authors
I don't like to get too specific about lyrics. It places limitations on them, and spoils the listeners' interpretation.
I think Atom Heart Mother was a good thing to have attempted, but I don't really think the attempt comes off that well.
For me, gradually over the years, you refined your tastes in the way you do things and it becomes maybe less experimental.
I mean, I have moments of huge frustration because of my inability to express myself linguistically as clearly as I would like to.
I am a lover of all sorts of different music. I love blues and every piece of music that I have listened to has become an influence.
I think once you've seen a song with a video, it limits your own mind's ability to read into it anything other than what you've seen.
People being incredibly rude and playing music incredibly badly and being incredibly obnoxious has always been a teenage sort of thing.
I think I'm still trying to be experimental on everything I ever do, but it's not as obviously way-out and experimental as what we were.
The only way artists can do things is to do it for themselves. Trying to second guess what the public wants or likes is kind of a fool's game.
It's a very tempting thing to try and relive your glory days when you get a little older and you worry that people have forgotten all about you.
I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.
We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.
When I was given this job I said I would only teach the people that I truly, truly love. Unfortunately, none of those happen to be Chinese, or women.
It's not true that you fall in love only once in your life. But it is true that you only fall in love a certain way, with a certain absoluteness, once.
I've sort of remarried a few years ago and have had a couple more children in the last couple of years. And so home life is taking up a lot of my time.
I haven't felt compelled to go back in the studio and do anything serious. I have a little sort of home studio thing which I potter about in occasionally.
People in Italy seem to be very capable of singing along with 'Wish You Were Here' perfectly, yet it's hard to get someone in the street who speaks english.
I don't have a very disciplined approach to practicing or anything, but I do tend to have a guitar around most of the time, which I strum on most of the day.
I was never particularly gregarious. I was quite shy, closed in. It's a classic isn't it, your psychiatrist will tell you, that's how I release it, through music.
You know, once you've had that guitar up so loud on the stage, where you can lean back and volume will stop you from falling backward, that's a hard drug to kick.
If you are in a band or in any situation with other people there are obviously brilliant aspects to it, but there are also things that you start finding yourself tied to.
I am working on current material, a new album, and that is all still my main motivation of going out and working. We haven't gotten rid of all the new stuff in favor of the old.
I don't live my life on the road. I'm getting on a bit and there's a lot of other things in my life. Our lovely children and their lives. It's more of a part-time business these days.
I think myself that, rather like books, music is meant to enter into the brain, well via your ears rather than your eyes but, it's - I think a lot more should be left to the imagination.
If people would like to come to my concerts I'd love them to come. And if they like the music that I make, I love that too. But I do not make music for other people. I make it to please myself.
I'm English and I am British. I don't know if I feel part of a music scene. Musically, I have as many feelings and affinity with Americans or Canadians, or all sorts of people as I do with English people.
She was a stirrer of the pot, a lover of intrigue and distress, a creature who seemed to draw oxygen from the spectacle of people at each other's throat, everybody in a state of upset and talking about her.
I think I could walk into any music shop anywhere and with a guitar off the rack, a couple of basic pedals and an amp I could sound just like me. There's no devices, customized or otherwise, that give me my sound.
I don't even think whether I play the blues or not, I just play whatever feels right at the moment. I also will use any gadget or device that I find that helps me achieve the sort of sound on the guitar that I want to get.
I went to a school in Cambridge, which I thought was completely rotten. Yes, hated it. Now they want me to go back there and support this, that, and the other and I haven't managed to pluck up the courage to even face it yet.
The old ways still apply. You can still send tapes to record companies, and there are record companies, you know, there are one or two of the record companies do declare proudly that they listen to every single one that comes.
Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.
That’s the great illusion of travel, of course, the notion that there’s somewhere to get to. A place where you can finally say, Ah, I’ve arrived. (Of course there is no such place. There’s only a succession of waitings until you go home.)
Tired of lying in the sunshine, staying home to watch the rain You are young and life is long, and there is time to kill today And then one day you find, ten years has got behind you No one told you where to run, you missed the starting gun.
I think a guitar solo is how my emotion is most freely released, because verbal articulation isn't my strongest communication strength. My wife thinks that I should do interviews by listening to the questions and playing the answer on guitar.
Little ideas can pop into one's head at any time, and if I'm being reasonably efficient I've got it close enough to hand, then I pop that little tiny moment of a few seconds down onto a tape and then I can forget about it for... years sometimes.
The internet seems to be what a lot of independent bands are doing these days. They're bypassing the studio - the big studios, EMI and all the record companies - and just doing it themselves, online, selling their stuff, getting known through that medium.
'Shine On You Crazy Diamond' and 'Wish You Were Here' are standout tracks. 'Comfortably Numb' is another one. 'High Hopes' from 'The Division Bell' is one of my favorite all-time Pink Floyd tracks. 'The Great Gig in the Sky,' 'Echoes,' there's lot of them.
Adrian Maben came to us with the idea. And we just thought, "Well, why not?" I don't think any of us thought it would be as well received and last in people's minds for as long as it did. All credit to him. It's his idea [Pink Floyd at Pompeii] and it was great.
I can't help other people's frustrations. I don't owe people anything. If people would like to come to my concerts, I'd love them to come. And if they like the music that I make, I love that, too. But I do not make music for other people. I make it to please myself.
If you have a live reputation and your popularity is proven that way, then you're bound to get signed up because they see all those people buying those tickets and they think some of those people will buy those records, and that's what their business is primarily about.
I can remember a lot of nights performing in those early years where you felt that you hit some good moments, but a lot of the time you're thinking, "Oh, God, this isn't quite making it." So I think that is what makes you in the end refine your view of things a little bit.
I think a lot of things do influence me, but the influence mechanism is as such that these things dive into your brain and bury themselves into your subconscious and you're never quite sure where and how they're going to emerge. I don't think I really take direct influence.
It's a magical thing, the guitar. It allows you to be the whole band in one, to play rhythm and melody, sing over the top. And as an instrument for solos, you can bend notes, draw emotional content out of tiny movements, vibratos and tonal things which even a piano can't do.
Our music has depth, and attempts philosophical thought and meaning with discussions of infinity, eternity and mortality. There is a line which people cross that turns it into some magical, mystical realm, for which I dont claim responsibility and dont hold any great truck with.
The idea of going around to somebody else's flat or house and sitting around in a comfy room and having a really good hi-fi system and listening to a whole album all the way through, then chatting for a few minutes, then maybe putting another album on . . . does that happen today?
I remember Adrian [Maben, director] had lots of problems with red tape and dealing with stuff. I think we lost two or three days. Maybe those were the days we had to walk around the summit of Vesuvius, and we went around to the sulfur pits where the ground is bubbling. It's near here. It's fantastic.
When you realize that you have a little germ of an idea that has - I suppose I can only say, has to me - a little taste of magic to it. You have this idea that there are millions, literally, of people listening to it at the same time as you and that little strange telepathy of a feeling that you're sharing something live with all those people.
My technique is laughable at times. I have developed a style of my own, I suppose, which creeps around. I don't have to have too much technique for it. I've developed the parts of my technique that are useful to me. I'll never be a very fast guitar player. I don't really know what to say about my style. There's always a melodic intent in there.
I am not a technophobe and I am using the latest technology today, some 30-odd years later, and I am really enjoying what some of the new technologies can offer. But at the same time I am always aware that one can get bogged down in that technology and that it can become more than just a method. That's something that you have to be slightly careful of.