Quotes of All Topics . Occasions . Authors
We'll be presenting a broad spectrum of the music and looking at how the younger guys can carry it on.
I was born in Long Branch, New Jersey, and no one had ever taught anybody that young, back in those days.
Fortunately, as we all know, it's impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.
There was a period when I wrote in Nashville for Maverick and then Warner/Chappell, and it was interesting.
People like my voice and say I can sing, but I don't like microphones in front of my face: it distracts me.
The radios are going to dictate. That's another fight. That's another story there. I wish they just let it be.
It's not only the wealth of sounds in Omnisphere; You're struck by the fact that you hear magic sound after magic sound.
Music is not everything in life. If a young musician looks at it that way, then he can just play his instrument like putting a nail into a wall.
The Pigtronix Envelope Phaser pedal is a definite 'must have' for your Funk recipe cookbook......it adds definite Funkaliciousness to your WOO stew.
I was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.
It's the opposite of that. Engineers in lab coats have created a musical experience that is so crisp and clean, it can literally improve your hearing.
I did enjoy Nashville a lot of the time, because I made really good friends who were really good songwriters, and they would be a joy to hang out with.
They were keen for me still to play the piano, which I was going to, but 45 minutes of piano would be extremely boring. I like a bit of light and shade.
I don't know about five guys against the world. It's more like five guys against these three chords, and we're gonna wrestle 'em down no matter what it takes.
There's a clip where he had someone miming me running around from keyboard to keyboard. Oh dear, I am sure a lot of people didn't know what he was going on about.
I'm playing 10 feet from Mike Campbell every night. I look across the stage, there's Howie. Tom's in the middle and we're playing all this stuff I love. It's great.
My parents always knew that I loved music. They just didn't think I'd try to make it a career. They thought I'd be a painter or an art teacher or something like that.
We manage to bounce ideas off one another. Every band fights, but at the end of the day, we're very positive about the way we fight. At least we come out with a result.
Woo means the ability to entice someone or something to get what you want. My first solo album was called: All the Woo of the Universe, which was titled by George Clinton.
The people that call me to play on records call me because they think that I will suit their music. And the people whose music I suit are by and large people that I'm a fan of.
Find a good teacher, as I found for my sons. I feel the worst thing you can do is to try and teach your own children yourself, because there is a natural rebellion that occurs.
I guess when Rick is finished with his Journey to the Centre of the Earth, then we might have a go at something. We'd like to, we're open to it, and we've been talking about it.
I'm not a rich man, and Greg Lake is certainly not. I don't know how he can survive. I don't know how he can be that suicidal. But having said that, I'd love to be there to help Greg.
We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.
You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
As far as arrangements after the basic track is cut, if I'm writing a horn arrangement or playing strings, I might arrange that, plan that out. Other times, I'll just sit and roll tape.
I don't regard myself as a great classical or jazz pianist. I like country music, but I'm not a great player. I just like music. Drums 'n' bass is pretty exciting and I'd love to explore it.
I am an improviser, ... I improvise music. Whatever you want to call it all, it is all improvised music. I may capture it and go back and write it down for others, but it was originally improvised.
Jeff Lynne is an arranger, and I think it's probably much easier for him to go ahead and play a part himself than to try to show somebody else what he wants. But it's hard for me to say; I barely know Jeff.
I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
I learned to play piano in a rock n' roll context or band context from country records - you know, Floyd Cramer - and from the Beatles and the Rolling Stones and Stax. And none of those are keyboard records.
I had written movie scores, television series, played with other people. Carl had done the same with Asia, with other bands, everything. We weren't about to entrust Greg automatically with a production credit.
At the Isle of Wight, the sound went out and kind of kept on going. And I wasn't... when I came off stage I was kind of unhappy about how we had played. But now, I listen back to those recordings and it's not bad.
Affectors Harmagedon is a solid blast of PROG metal complete with burning solos, odd time signatures, orchestral highlights, and Rock riffs that will tear your head off! Excited that I could be a part of this album!
I'm not an overly skilled piano player or organ player at all, but I think I'm the right piano and organ player for the Heartbreakers. And I've been the right piano and organ player for a lot of sessions that I've been called on.
I was always playing the Hammond Organ back to front even during the days of the Nice, going back to 1968. Really what I was doing there, was choosing notes at random and trying to make some sense of them, improvising back to front.
I am very proud of my musical growth and contributions to the band in the last four years. I have nothing but positive thoughts and feelings towards John, Mike, James, and John. Jordan Rudess is a friend of mine and a great talent. I wish all of them the very best!
What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.
Ive broken my nose, Ive broken ribs. You name it. In fact, we just got back from South America, and I fell over a monitor speaker on the stage and almost ended up in the front row of the audience. I managed to sprain my wrist on that one but luckily nothing was broken.
I've broken my nose, I've broken ribs. You name it. In fact, we just got back from South America, and I fell over a monitor speaker on the stage and almost ended up in the front row of the audience. I managed to sprain my wrist on that one but luckily nothing was broken.
Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
I learned that the songs that mean the most to me are the songs that I write by myself. While there were people I wrote really well with, particularly Gary Nicholson and Delbert McClinton, and I really enjoyed the experience, I came away from it feeling like I need to write by myself.
Listen to the Beatles' 'Things We Said Today.' Ringo Starr does not play a fill in the entire song. It doesn't need it. 'A Day In the Life' has gorgeous fills, but there, the song needs it. When I play on any record, I'm striving to get where Ringo is. You play what doesn't take you out of the song.
All of the guys love to take serious topics and go for it; we're not writing a whole lot of love songs. With 'Sacrificed Sons,' we had some sensitivity there about how we'd present it. I remember there was a lot of discussion about the kind of words that would be used and how direct we wanted to be.
In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.
Once we played at the Fillmore opposite The Cream. Eric Clapton was there and he played his ass off that night ... backstage Michael Bloomfield introduced me to Eric, and Eric was so nice. He came up to me, put his arms around me and said "Barry, it's such a pleasure to meet you" ... I couldn't figure it out... then Michael told me that he had told Eric I had cancer and two months to live...