Quotes of All Topics . Occasions . Authors
I don't know that we ever overcome doubt. We just have to remember that it's more than likely a poodle in the bushes and not a grizzly bear.
Frankly, I think it's flattering to be compared to someone like Michael Bolton, who I think is a phenomenal singer with a spectacular range.
Looking back, I sometimes wish I had done things differently. But if I had, I'm not sure that I wouldn't have proven to be my own worst enemy.
One of my all-time favorite Christmas songs, I have to admit, was the Chipmunks' 'Christmas Song.' I remember playing that song over and over.
My musical education started before I could see over the dashboard, just listening to the radio and cranking up our favorite songs as they came on.
I think that's the one thing we all hope for in this life is we leave something of a legacy, that's meaningful to someone else, when we leave here.
I grew up with this idea that songwriters had a great job. My family was Irish Catholic, so if you became a priest or a songwriter, you were golden.
While making any record, you look for the opportunity to bring someone who will help generate something special in the music environments you create.
'Livin' on the Fault Line' was kind of a commercial disappointment for us, although it seemed to have a certain buzz with the smaller fan base we had.
Warner Bros. was a great label to be affiliated with. It's the best label out there, and the fact that I was with them for 20 years was just an honor.
I grew up in the era where everybody wanted to sing like Mitch Ryder and James Brown. And I did, too. But I learned real quick that it hurts after a while.
I think every ounce of pain in just living always ends up being the best thing that happened to me. It's always a growth period. I learn at the speed of pain.
Beck is obviously a consummate musician. He plays instruments, many instruments. He can make his own record without having a fleet of computer operators onboard.
Throughout my career, there has always been an element of surprise. Sometimes there are moments of disappointment; sometimes there are moments of surprising success.
I'm always like the guy who wants to date the pretty girl so bad, and when he finally gets the chance, he blows it because he spends too much time worrying about it.
It's funny how, as we get older, what become our fondest memories are not necessarily the happiest times of our lives but the times of our lives that shaped us the most.
There have been albums I've recorded in the past that have had success, and then there have been ones I've had extreme faith in, and they ended up as commercial failures.
I wish I wrote songs like Donald Fagen, Walter Becker, Don Henley, Marvin Gaye, Michael Jackson, so many of the songwriters I admire. They have the ability to say things.
I'm a big country fan. I remember, as a kid, when Ray Charles did the 'Modern Sounds In Country And Western Music' record. That's one of the reasons I became a country fan.
When I was with the Doobies, the style of music was that we all went over the falls with chord progressions, trying to make things as complex and interconnected as possible.
For me, a lot of my fondest memories of being in the music business were being in the studio with The Doobs and being part of that organization and being a part of that music.
I felt a real kinship with Steve Bruner. He's one of those guys that is so prolific that he has a hard time keeping up with himself. I'm the opposite and move at a glacial place.
Pat Simmons and I always had a great blend together. We did the background vocals on a Little Feat track called 'Red Streamliner,' and that was great fun. I always really loved the way it turned out.
The 'Motown' detour for me was almost like it wasn't work. It was more fun than work, and that's all it takes for me to not be very responsible to other things I should have been paying attention to.
When Kanye gets to a point where he can actually put a couple of notes together either vocally or two bars of valid music playing an instrument, then he might have a right to criticize somebody else.
No matter what anyone else thinks, if someone appreciates what you do, whether it's 10 people or a million people, it's all good - because the only reason you make music is to have someone appreciate it.
I've felt the noose tightening for me for years at the major labels, where you're allowed to do less and less of what you would do most naturally and expected to do something that was expected to be saleable.
I do love the Nat King Cole stuff, the classic Christmas records. There's something about putting those records on and hearing his voice at Christmastime that brings back a lot of great memories of growing up.
Each generation tries to disassociate itself with the last generation. And then, about three decades later, people kind of start to maybe appreciate what you might have done a while back that you don't even realize you did.
In the '70s, there was no shortage of people taking themselves too seriously, as 'artistes,' if you will. I think we all had a tendency to do that at some point in our career. So looking back on that, it's fun to laugh at it.
I think when you're not prepared for something, success can be as crippling a thing as failure to people. I think it touches whatever insecurities you have, that you may not be as in touch with you as you should be or whatever.
Brian Owens is a young guy from Ferguson, Missouri, my hometown, who I don't think emulates me at all, but I really enjoy his particular style. He kind of makes me think of the older school of soul singers like Sam Cooke, Marvin Gaye.
I think, as musicians, that's really all we want is to keep working. We want to have a reason to be, and we want to play for as many people in this span of life that we're allowed as we possibly can, and in as many places as we possibly can.
Whenever I sing blues from the '50s or the kind of blues that you might have heard Eric Clapton or Duane Allman emulate, I often feel the similarity of some of the ragtime stuff I sang early on. A lot of the phrasing and the harmonization is the same.
I didn't own a record player when I was younger. I just played every day after school and then started gigging around town. I heard bands and songs through friends of mine, but a lot of what I picked up on was learned by traveling through college towns.
We try to promote the Christmas season and remind people that it is a season of peace. That's what the season's real meaning is about. No matter what religion you are, there is that point in time where we should celebrate that idea of peace and humanity.
I love writing Christmas music. It's some of the easiest songs to write... You draw from your own memories - it's kind of a wellspring of inspiration, in a way. With other songs, you know, you spend six months just trying to figure out what to write about.
I use Facebook, but I find that I'm... if I put up a picture of my dog there or a sunset or something, I get a million hits. If I mention anything to do with my career, three people respond. And/or if I say anything political, I have to duck afterwards. I try to be selective.
I was attracted to black music for the same reason that I loved those old Irish ballads. Both were social statements of sorts, and both were indigenous to their respective cultures: Ireland, where my father had grown up, and towns like St. Louis along the Mississippi River, where I was growing up.
There were certain Ray Charles albums and a couple of early Marvin Gaye records that I used to listen to with a vengeance. That's how you forge a style. It excites you, and you lean toward it almost unconsciously. I was also a Beatles fanatic, but I didn't emulate them the way I did the R&B artists.
I love to write songs, but they don't come easy to me - I spend a lot of time writing really dumb stuff that I have to look at the next day and think, 'God, what was I thinking?' That's my process, is just to go through a lot of dumb stuff and hope that, after a lot of hard work, I'll find a good idea.
Rap is like any other genre: There are the people who are very creative with it and do remarkable things... and then there's that whole quadrant that sounds alike. There's great stuff that's taken the genre to a new level over the years, and 'Regulate' was one of those tracks that was kind of a landmark.
My first rock band was called Mike and the Majestics. I was about twelve, and my older sister Kathy was the manager. There were three of us: me and a friend on guitars and a drummer. We were young, but we played for a lot of fraternity parties, plugging both guitars and a microphone into one little amplifier.
When I first heard Thundercat's stuff, I thought, 'Man, this is so original.' A lot of his ballads, to me, had such a beautiful harmonic, almost classically Hispanic, feel or, like, Brazilian kind of feeling. I don't think he does that intentionally or anything. It's just I think those are his influences on some level.
Where I grew up in St. Louis, Saturday was country music day on television. We'd watch the Bill Anderson show, the Willie Nelson show, the Dolly Parton and Porter Wagoner show, and always the Grand Ole Opry. My parents were fans of that music, and my friend's parents would pull the TV out and watch those shows on the porch.