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I myself am a very, very peaceful person. Throughout our history, from our own American revolution to the resistance against apartheid in South Africa, to labor strikes in the US, people have resorted to violence to achieve a more progressive society, from time to time.
I've been getting pretty focused about that recently, and even considered doing a masters degree to polish up the craft. I've been pretty lucky in that I seem to have found people online who are willing to constructively tear it apart for me, and indicate its weaknesses.
Is there one blues guy who was the most sophisticated and influential, like Duke Ellington or Louis Armstrong in jazz? Was it Muddy Waters, Little Walter, Lightnin' Hopkins, John Lee Hooker, B.B. King, Robert Johnson, or all of them? I think you have to pick all of them.
Lenny Breau was a genius - inspired and really loose. I loved how he used the guitar as an extension of his inner freedom, because, obviously, on the outside there were a lot of trainwrecks going on. But when you listen to him play, you hear what kind of guy he really is
'Triboluminescence' is actually a scientific world meaning striking something and creating light from dark. I thought it was a great word and that is was a very apt metaphor for making music - or any creative act, really. We all start in the dark and have to create light.
Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.
All of the good things that surround art - you have to embrace the idea that it could be a complete disaster. I think that's what gives it its artistic sparkle is that it really could crash and burn at any moment because you're going out on a limb and being very personal.
Real thick strings - your hands start to get fatigued. As much as you practice, and as much experience as you have, and as long as you've been playing, there is a fatigue point during the show, as with anything that's physical. So I wanted to basically pace myself better.
Basically I just had to say, 'Screw everyone around me - from now on I'm just gonna play what I think is important to me and our music.' So I gave the big finger to all the current trends in technical wizardry, and just went off and did what I felt was best for the songs.
We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
Vocally and stylistically, we'd have different kinds of songs come on the radio, and people didn't realize it was the same band. A lot of the time, a casual fan would come see us and go, 'I didn't know that you guys did that song. I didn't know that was you!' That was us!
Like most things that happen with Sabbath, it happened all of a sudden. I was intending on doing some recording, but out of the blue, Sharon called up and said she wanted us to do these gigs with Ozzy. I said that if everybody else was up to it then I would love to do it.
I come from a school of people, folk singers, and the tradition there is troubadours, and you're carrying a message. Now admittedly, our job is partly just to make you boogie, just make you want to dance. Part of our job is to take you on a little voyage, tell you a story.
The thing that sometimes gets lost is people look at the harder edge of me ... the leather jacket and the tough rock 'n' roll attitude... and get the wrong impression that I'm mean. That's really something I don't want people to think because I don't think that's the case.
I've seen myself do stuff on stage that was pretty amazing. I think that would be true for any athlete. Any top athlete will see something that they are very proud of. All my injuries will attest to the fact that besides being a musician, it comes down to being an athlete.
Steeler was a good start for my career. They didn't play anything dangerous - everything was formulaic - but I played all this crazy stuff on top of it, and that turned out to be an interesting combination. But by the time 'Steeler' came out, I was already out of the band.
I'm particularly attuned to lyrics, and very often a bad set of lyrics will ruin a song for me, while my friends will be just grooving on the music. I don't mean that it has to be about anything in particular, but there has to be some art applied to it, simple or otherwise.
There have been times when I felt suicidal and I would stop my head from going in that direction of negativity because I thought there'd be something I'd miss that was funny in the future. If there's a chance I'm going to laugh tomorrow then want to live to experience that.
I'd have to say that Kenny White has earned a place among my favorite singer/songwritersand particularly, lyricists. As we say in the trade “he goes deep.” A true wordsmith AND musician who reveals a fine sense of humor, as well. Put on your headphones and listen carefully.
When I began playing the lute, in 1950 there were not too many lutenists around. I had to work hard, writing out music in museums and libraries. It was before the days of photocopying. And I had just picked up the lute, adapted my guitar technique to it and went from there.
Amanda Petrusich’s fascinating and insightful journey into the arcane netherworld of 78 records and its bring-‘em-back-alive collectors brims with the joy and passion of discovery, along with a heartfelt affection for those who keep alight the flame of our musical heritage.
I find it ironic that now water is more expensive than music. On the one hand, record companies can't go crying when they've gouged consumers for decades, charging exorbitant prices for CDs that cost 29 cents to make. On the other hand, when music is free, musicians starve.
I always wrote everything - I wrote all the lyrics, I wrote all the melodies, everything; it's just somebody else sung it. And to me, the singer is nothing else than a different... like a bass player or a keyboard player - they're not more important than any other musician.
We know how to work certain toys, and if you've got something in your head you know how to get in on tape, even if it's got an abstract sound to it. We are kind of producers as well as a band, so we're a self-contained unit. We can produce our own record as well as write it.
We all record together. We do it live; then, after that, we do overdubs, if we need to, to repair stuff. Usually when we do stuff, we have to make sure we get the bass and drums down, and by doing it live, you're actually playing the song. You're not piecing together a song.
It means a lot that fans feel connected to us and care about us, and that means the world, because that's what we want. We don't want them to feel like we're unattainable because we're just like them. We're all normal kids but somehow we got lucky when we picked up a guitar.
When I moved to Hollywood, I was expecting it to be this Mecca of extraordinarily talented musicians, and it was instead the era of Faster Pussycat and bands that had an appeal, but I couldn't do anything like that. There's nothing in my being that can do anything like that.
For some reason, it seems like pop writers, it's like they just get worse or something over time. And then you're really jealous of movie directors whose careers seem to grow and they'll be 70 years old and still doing these incredible jobs. I'm going to reverse that, I hope.
Technology isn't the enemy, it is our ally, but only if we adopt a new model that puts people before profit. I realize that we seem far from that model, but I have seen it in action and it is a beautiful thing. So I'm not willing to give up yet. Hope is the last thing to die.
I think, honestly, that ego makes you most vulnerable. When you are in humility you are much more comfortable, open and okay with BEING vulnerable, whereas the ego is the protecter, and even though you think you're protecting, I think you are more vulnerable if you're in ego.
Even if we had the No. 1 video on MTV, and we had money and everything else, I think we'd always have more to do. I don't ever want to wake up in the morning and say, 'What are we gonna do today?' I'm afraid of that. I don't ever want to wake up and feel like we've conquered.
The guitar for me is a translation device. It's not a goal. And in some ways, jazz isn't a destination for me. For me, jazz is a vehicle that takes you to the true destination - a musical one that describes all kinds of stuff about the human condition and the way music works.
The feeling you get from playing to a good audience is hard to describe without sounding as though you are talking silly. But reaction is important. You might feel in yourself that you're doing it ok but it's when you get the live reaction that you know you're doing it right.
Oh, we've had our share of hotels bein' smashed and all, but that was a long time ago. You get lousy room service... I mean, there's no use throwin' a TV set out the window for the sake of throwin' a TV set out the window. But if you get a lousy picture then you have an excuse
Blackheart Records being 25 years old represents staying power and the fact that we weren't able to get a record out through conventional means, so we had to create this record company to put out our records if we wanted to be a band that had records to give out to their fans.
If you are having trouble making a chord, get a book, that is how I learned. There are guitar tuning apps so you can tune your guitar, and just learn how to play along with your records. And it's great to be able to play along with another musician. That is like trial by fire.
I love classical music, but I hated classical guitar. But I like flamenco, because there was something else there going on. It wasn't just the notes being thrown at you. And there were certain kinds of jazz that I really liked and other kinds that just went right over my head.
I sometimes tell students the only guarantee you've got is the music and no-one can take that away from you. Only you can take that away from you-by not practicing and not putting in enough elbow grease. The more you put into your music, the more your passion for it will grow.
No one knows this, but when I would play the clubs back in '65, '66, they used to call me 'Screaming Chicken,' 'cause I would go out and scream, fall on the ground, beat myself, smash stuff, jump through the ceiling, roll on the floor, and act like I was having epileptic fits.
'Life Changes' is a song that we feel really connects to the spirit of our band and our fans. It's got that positive vibe we always want to put out there, and the message - no matter how many times you get knocked down, always get back up - will forever be part of the GC story.
Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?
I've always been attracted to the darker things in life. I was never one to go for light, airy stuff, even as a child. My whole aesthetic has always been one of the darker side. That rings true also in my tastes in music. It's just always something I've gravitated to naturally.
When Alcatrazz played in Japan in early '84, the record label offered me the opportunity to do a solo album while continuing to play in the band. I wanted the whole album to have vocals, but the record company didn't want that. Initially, the album was released solely in Japan.
I remember when I was a kid, if you had your name on a piece of vinyl, man, you were, like, in the halls of Valhalla; all of sudden, you were hanging out with Odin and being at the table of the gods. You were the real deal; you weren't some guy struggling in a garage somewhere.
I cant lie - I love talking to the people at my shows. Im so grateful to all my fans. I couldnt do it for this long without them. So if they want to come past to say hi and whatnot, then its part of my job to talk to them - and you know, it might be the best part of my job, too.
We toured with Iron Maiden and we opened and they'd come in later and I didn't have a lot of time to get to hang out with those guys. Whenever you did, whether it was sitting down at catering or something, you tried to take advantage and just hang out and talk and trade stories.
There are literally billions of people on the planet who live in an unimaginable poverty that's not in any way different from the plight of the people in Orchid. And you can't have the splendor of Rodeo Drive without the sweatshops of Indonesia; those two things go hand in hand.
A contract is an ask game, and if it asks for an hour, and I submit to an hour, then it's an hour. When I look at a contract, I look at the obligation - where, when, how long, the compensation. If I agree to it, that's the way it is. I have an obligation. They have an obligation.
My father being in the movie business, I thought being an actor would be great. But when I started singing to people in coffeehouses, you know, singing folk music and then, later, singing songs that I started to write myself, I felt more than an affinity for it. I felt a calling.