Quotes About Music

The blues is so expressive - nostalgic but not sentimental, mournful but not pathetic, so humble and close to the earth. It's a nuance-filled thing.

You can't learn pathos or profundity.

'Birugali Yondige' is a pathos song, but it sounds romantic.

Of course I'm a big fan of Migos and we crossed paths on the road a bunch of times.

Club music taught me so much about myself: having patience or appreciating a different type of way of taking in life. That, to me, is like what 'Off the Wall' is. Or 'I Feel Love' or 'Rock Your Baby' with George McCrae.

I wanted my own rock band and stuff like that, but things didn't work out. I didn't have the patience to write my own songs and learn it and everything.

I had to learn about patience, to let the music get its own spirit and voice.

I have volunteered for Musicians on Call for the past 12 years because of the incredible one-on-one experiences in hospital rooms when no one other than the patient and I would remember the love that was exchanged.

Dann Huff is amazing and so patient.

The Macorinos and me - there's a big space between our generations. The people I was used to work with, we will do everything faster. And the Macorinos were more, like, calm. They were patient with music, and they were paying a lot of attention to the details.

I happen to love the patriotic songs of America.

Even in those early years of Static-X, there was a pattern emerging where I would spend all my free time writing songs for Static-X and the other guys in the band spent their free time working on their other projects.

So I'll set a cycle in motion and pop it into record and I'll lay down a drum pattern, a bass line, a keyboard and guitar part, and once the groove is going I launch into the song and sing my song over the top.

And there's always one special element. In 'There Goes My Baby,' it's the out-of-tune timpani. 'Stand by Me,' it's the bass pattern. Of course, all the elements come together to make a great record. But there's always one standout.

I put out records to this day that are not necessarily in a sequence of anything. Some could be written a while back, some not. There is no set pattern.

A song like 'When The Levee Breaks' has a very simple pattern, but it's hard to give it that feel that my dad gave it.

Somewhere around the fifth, sixth album, we got this little formula together where we knew how to record Too $hort songs. You need the bassline, a good drum pattern, call in the keyboard, the guitars - it's just a way we mixed it all together.

I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.

My approach to writing rhymes went hand in hand with the music. I'd try to make different rhythms with my rhymes on the track by tripping up patterns, using multi-syllable words, different syncopations. I'd try to be like a different instrument.

Duke Ellington was famous for hs very original harmonic patterns.

When I first started writing songs, I did play with my fingers, and I had these kind of weird strums. There's, like, three or four strumming patterns that seemed kind of unique to me.

I'm not interested in making folkloric records, but I like to push the traditional format around so that familiar patterns get knocked on the head.

Of course, I'm a guitar player, so I'm thinking as a guitarist. I have to work within my physical limitations as to what my hands will do, and also the patterns I'm familiar with, and the places that my fingers are used to going.

Rock 'n' roll guitar came from blues guitar. It was the blues guys who first turned the amp up and started whacking on the Stratocaster and a Les Paul. It wasn't the country guys and it wasn't the white guys; it was the Blues guys. That's where the real fire is in all of this rock and roll music.