Quotes of All Topics . Occasions . Authors
The way we describe our world shows how we think of our world. How we think of our world governs how we interpret our world. How we interpret our world directs how we participate in the world. How we participate in the world shapes the world.
People wonder if the Pearl Jam audience will get into The Buzzcocks. Eddie Vedder is a big Buzzcocks fan. He used to come to see Buzzcocks before he was in Pearl Jam. If his fans like what he likes, I guess that they might like The Buzzcocks.
I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'
The music played most around St. Louis was country-western and swing. Curiosity provoked me to lay a lot of the country stuff on our predominantly black audience. After they laughed at me a few times, they began requesting the hillbilly stuff.
When you're a guitar teacher, you teach people for a few years, and you become comrades after a while. Because everybody eventually catches up to everybody else, and you want to help each other out - to see if you can make the dream a reality.
I find Indian music very funky. I mean it's very soulful, with their own kind of blues. But it's the only other school on the planet that develops improvisation to the high degree that you find in jazz music. So we have a lot of common ground.
So many things will happen, for better or worse, in your career, and it's very easy for those things to bog you down or consume you. But when you get a chance to look back, you realize that those were not the things that were really important.
For a while I was collecting Satan and devil stuff - you know, anything that had to do with old Beelzebub or Lucifer. But I had to put the brakes on it, because there's a lot of stuff out there, and the collection was just growing too quickly.
Blues artists now try and stay in a box. Back in the day at all the clubs you would see James Brown, Jimi Hendrix, The Isley Brothers, Little Richard and Etta James all play the same venues. It was a mix of funk, soul, blues and rock 'n' roll.
I am very aware now that music is a business, but there is also a way to go about making music that is true to yourself as opposed to doing, you know, just going through the motions and making things that would just be commercially successful.
When I am most successful as a guitar player is when I'm able to just sort of lose myself. You stop thinking about technique or anything like that and just trying to evoke the emotion of that song brings, which is a very strong emotion for me.
I never did heroin, because I thought that meant I was doing heavy drugs, which shows you the insanity of doing drugs. I probably should have done heroin, because I understand heroin actually makes you feel good. Cocaine just makes you stupid.
Technology has made it much easier to make and manipulate music. Studio-driven, machine-driven music does not always transcend into being a good live act. Many current acts are great live, but many cannot cut it live. The music is not organic.
In so many ways, it feels the same now when I play as the very first time I picked up the instrument. There's always this sound out there that's just a little bit beyond my reach and I'm trying to get there and that just sort of keeps me going.
I wanted to play blues. But I wasn't blue enough. I wasn't like Muddy Waters, people who really had it hard. In our house, we had food on the table. We were doing well compared to many. So I concentrated on this fun and frolic, these novelties.
I don't know to what extent someone can BECOME an artist - you either are or you aren't - and if you are you'll HAVE to make your way to some kind of sickly light, no matter how terrible the soil you were seeded in your nature will out somehow.
My son now is 22 months old, he's been playing since he was 12 months old and he gets standing ovations on the drums. He's been with us since he was 10 weeks old, he's been on the drums. He's got blisters on his fingers before he can even talk.
You have to keep the recording process open. If you make too many decisions before you go in, you can lose out on those serendipitous moments that can really make a record, that I think are always required in the making of a really good record.
You can never say never. I'm not sure if I even want to. I just don't know. Some of it is just not able to be reached, you can't remember some of it and the people that could help you remember have passed away. It might have to remain a remain.
You couldn't make a Steve Vai. That's a one-in-a-billion type of personality that comes out together with an incredible talent facility. You grow it; you help them grow it. Hopefully, it matures, and they don't hit any roadblocks along the way.
I've taken all the mirrors out of my house because when I'm playing onstage, I feel like I'm still in high school. I feel like that kid that wanted to play in his first band, and then I look in a mirror, and it's like, 'Uh-oh!' It ain't pretty.
Duane Eddy is somebody I wanted to play like. I discovered him before The Beatles, and he totally got to me. He sent me a note back in 1977 and said that he really liked what Cheap Trick were doing. That's one of those 'Wow!' moments, you know?
Attempting to write vocal oriented songs to me felt like going through the motions and if you are going to go through the motions you might as well just do any gig that caused you to do repetitive motions like banging a hammer or serving fries.
When real substantive change happens it's the people who watch your show, they're the ones that make it happen. It's people whose names are not highlighted in history books. They're the ones that stand up in their place and time to make change.
If you look at somebody like Bach, he didn't need collaborators to write for keyboards, cello, violin or anything else. I feel the same way about my music. The times that I have worked with other people, I've been very unhappy with the results.
I grew up in a family that was very musical, learned the blues and everything like that. And I became a little bit frustrated with the simplicity of rock n' roll and blues. I started listening to a lot of classical music - mainly Bach, Vivaldi.
It's not me to toot my horn. The minute you toot your horn, it seems like society will try and disconnect your battery. And if you do not toot your horn, they'll try their darnedest to give you a horn to toot, or say that you should have a horn.
As a child, I lived in Germany at the Ramstein air force base, where my dad sang at a nightclub in Kaiserslautern. My parents couldn't afford a babysitter, so when I was, like, ten or 11, I would go with them to the bar until two in the morning.
I don't have an extensive background in theory, but the amount of it that I've learned, I've applied, so I have a vocabulary of melodic and rhythmic relationships. And that's all theory is - it's symbols to help you identify those relationships.
I think it's kind of difficult to write a good Christmas song because you have a narrow framework of references that you have to work within, and at the same time you want to do something that's personally original and hopefully somewhat unique.
I feel really fortunate that, in playing guitar and surfing, I've found two things that mean so much to me, and which really complement each other. There's definitely a spiritual thing to both of them; they totally connect you to a higher realm.
Yeah I do and I don't mind, in fact that is one of the real encouraging things about this whole career of mine is that there are tunes I wrote almost thirty years ago that I will still play in front of an audience and I still like the old tunes.
You know, right now, the most important thing in my life is to make sure you understand that, first of all, I thank God I'm alive today, and I mean that. You see, I spent too many years of my life thinking that the big party was the whole thing.
For the millennium [New Year's Eve], you really have a choice to make. You either have to be naked with your head on fire and a shotgun in Bali or else you have to spend time with friends or family around the fireplace. And I'm choosing option B
Things have gone beyond my wildest expectations and dreams, and I feel like I've been given so many blessings in my life, between my friendship with the guys in the band, our wonderful audience, being able to play this music, and then my family.
... I'm not conscious of the speed ... it's not my motive ... my motive is displaying a voice through the fingerboard ... it can get to the point where I don't have control over what I am playing ... I never end the gig until I can't sing anymore
And because of the reunion I think we've got more energy and enthusiasm than we've ever had. And it's genuine. I think the fans can detect when you're genuine, when you love what you do, and we love to be there on stage. That's what we thrive on.
I'm not technical. When I listen to music, I gravitate more toward the sonic aspect of it. The technical stuff of it, I get bored with it. These long solos? OK, already. You know your scales, big deal. I know it, too, but I don't want to do that.
Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.
When we improvise freely - that is, without a structure - it tends to sound more like 20th century classical music, more like a classical ensemble improvising, as opposed to a free-jazz group, where you're more used to hearing saxophones honking.
There isn't one album that says 'Hall & Oates.' It's always 'Daryl Hall and John Oates.' From the very beginning. People never note that. The idea of 'Hall & Oates,' this two-headed monster, this thing, is not anything we've ever wanted or liked.
If you are in a band like my brother, Rudolf, who is in the Scorpions, then you have a kind of umbrella and you cover each other. You have five people to discuss things with and you are all in the same boat, and therefore make much wiser choices.
The only exercise I got as a kid was fork to mouth. Food was equated with love in my household. I thought you left the table when the zipper was down and you'd explode if you took another bite. I'd eat my plate and then everyone else's leftovers.
KISS has always been outside of the borders of what other bands can do. Not that some of these other bands wouldn't want to do it - the fact that they may snicker or look down their noses at what we do is more out of jealously than anything else.
As big as my ego may be, I'm really not of the belief that I can't be replaced. I didn't invent the wheel. There's someone else out there who can do what I do, maybe a little differently. I believe that Kiss is bigger than its individual members.
I never thought we'd be put into any sort of historical thing. When we started as a band, it was a day-to-day thing. You sort of played a gig, you got your money and thought, 'OK, where's tomorrow's gig?' You never thought you'd get past a summer.
The last song I recorded with [Hank Williams, Sr.] was "I'll Never Get Out of This World Alive." I remember thinking, "Hoss, you're not just jivin'," because he was so weak that all he could do was sing a few lines and then just fall in the chair.
Well you know I've been in that place too where you worry about what everybody thinks of you, am I popular, do people care, are they looking at me, all that stuff. That's a drag, man. Having to worry about fitting in, am I cool enough to ANYTHING.
I like the way black looks. I think I look better in darker clothes. And maybe the fact that I wear black so much makes me more aware of putting people at ease. The black is sort of the bad-guy guise, so I work overtime to make people comfortable.
We don't test out the songs live, and we don't play them for weeks on end in the studio. We have, like, one day to get two songs down. So what happens is, everybody's attention and energy gets ratcheted up. But it's good because it helps us focus.