Quotes About Music

When I came up in a band - not just in a band, but a kind of underground DIY community - there was such a clear cut distinction between what pop was and what not pop was in very simplistic terms.

No U.K. rapper has been in my position; there are loads of big rappers like Tinie Tempah or Skepta, but no one has done what I have: had mainstream success with underground music and pop music.

We been bubblin' in the Los Angeles underground for years.

If I'm gonna make a dancehall record, I'm gonna reference the best dancehall that I know - even if it might just be super underground, but I know it's quality.

Nailbomb was never really a big record. It's big in the underground. It's huge and it developed a big cult following.

On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.

When I started out, I preferred to watch my films without music, as its presence tends to mask the underlying pace of the film. I felt I could feel the rhythm of the film better without music to influence me.

I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.

There were songs that we cut out after we chose the name, because 'Praise Break' turned out to be an underlying concept that I didn't know was there.

Governments can help support European music by promoting public awareness that when people take music that doesn't belong to them, they undermine the future of those very artists whose work they enjoy.

Talk about songs that make me cry: Track 7 on the 'Phineas and Ferb' soundtrack, 'Summer (Where Do We Begin?).' When you get to the part about sitting with your brother underneath the shade of a big tree in the backyard, ohmygod. Turn on the waterworks.

No matter how happy or hopeful I am, I always tend to drift back to that. It's underneath all the music I've ever written... An artist is trying to tell you how he's feeling. And if that accidentally becomes entertaining, it becomes a career.

There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together.

Ultimately, I'm a fan of music. I describe writing music sometimes as hieroglyphics, like, you know, excavating, gently brushing off these artifacts and discovering the song underneath it all. It seems as if it is already written in it.

Music is just sound - what's more important to me is behavior. I'm watching these play-offs - basketball - it's interesting to watch behavior, underneath all the movements and everything like that. They go into the audience and show some of the parents of the players and all that.

There is a pressure, but my job essentially is not to listen to that pressure, not to buckle underneath that pressure, but instead to continue making music in the way that I have been making it.

The bottom line is fans just want to hear a good song. Some people will look underneath to see who wrote it, but they just want to hear a good song. And if they don't hear it, they're not going to buy it just because you wrote it.

I used to be afraid to use the word 'pop' to describe my music, but underneath my tough, bad-girl sound, there's some fun.

Everyone knows Mike Portnoy's reputation. He's a great drummer, and he helped us out in a great time of need. He really helped us get back underneath our feet and continue this band.

I have never been too concerned about things you're supposed to be concerned about as a singer. Pitch is important, and so is sounding good. But I think there's something underneath all that.

Anyone can sing badly, but to sing badly on purpose and make it believable is harder. I listen for the actual melody in my head but sing right underneath or above it out loud. It takes a lot of concentration.

As far as actual playing, Clapton - by far - is my biggest influence, and you can tuck Jeff Beck underneath that.

I've gone down several paths. I started school as an engineer, but underneath it all, I knew I wanted to use instruments, not build them.

You can look at 'Rumours' and say, 'Well, the album is bright, and it's clean, and it's sunny.' But everything underneath is so dark and murky. What was going on between us created a resonance that goes beyond the music itself.