Quotes About Music

I usually spend my weekends working on my music and videos.

I don't tell 'U.S. Weekly' which parties I'm going to. I write songs.

When I graduated college, I had a fairly successful weekly club gig and was buying more studio equipment and writing my own music. I realized I didn't want to work.

I always loved the 'L.A. Weekly.' I totally looked up to it when Weezer was starting out, and I always wanted to be in it, and they always totally ignored us!

I worked at 'Mademoiselle,' and then it shut, and I worked at 'GQ' for three years, during which I was freelancing. I wrote for 'Vibe.' I did music reviews. I wrote for 'Time Out.' I was desperate to get into 'Entertainment Weekly' or 'New York Magazine.' Like, desperate.

I remember hoping there'd be 10 people at a show in 1998 when there was an incredible write-up in the local weekly. I don't want to go back to that period of being obscure and having nobody know who I am, let alone have to struggle to get people to come to the show.

We always work at least a month to six weeks before we go on the road, usually for something like eight to 12 hours a night. It took six weeks to do it this time. We just play virtually everything we know.

I moved to London to go to dance school when I was about 17, but then I realized that I didn't want to be a dancer anymore, so I dropped out after five or six weeks. All I wanted to do was sing and make music.

'Fool If You Think It's Over' is still the only song I've ever not played guitar on, but it just so happened to be my first single, and it just so happened to be a massive hit. It was in the U.S. Top 10 for seven weeks.

Later in high school, I met Hillel Slovak, who was the original guitar player of the Chili Peppers, and we became really close. We had a band, and we didn't like the bass player, so I started playing bass, and I got a bass two weeks later.

By 1976, I was, like, Gonesville. I practically lived at the Troubador for several years. When Bette Midler was there for six weeks, I went every day for both shows. I sat there mesmerized. The only person who went as much as I did was Cher.

I was born singing. My father tells this story about when I was 3 weeks old, how I would rock in the crib and sing in the crib all night long. My crib would roll across the floor in the middle of the night. Finally, my father nailed its legs to the floor.

There's no rules in music anymore. You don't have to go down with, 'You have a single, let's do six weeks of promo, beginning with this, doing this, doing this.'

Two weeks later, we played our first concert and had 100 people there. It was pretty cool.

I played trumpet for about two weeks. Sixth grade. And I didn't practice. Maybe a little longer than two weeks, but I didn't practice and I was faking it.

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.

God bless Skrillex. I love the kid, but he puts out a new video, what, every four weeks? I'm like the Dos Equis guy. I don't normally do music videos, but when I do, I go big.

After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.

I DJ a lot of night events - sometimes I may work 3 nights a week, and some weeks I don't work at all; other times, I'm working every night.

Me and my two best friends went to see the Ramones in 1979, and two weeks later, I was like, 'We're starting a band. That's it.'

When I finally decided to do the show, I only had two weeks to learn the choreography and the songs in French.

Cole Archer's Chillout Mix. That's my son's mix. He's ten weeks old, and this is what he listens to: 'Valerie' by Amy Winehouse, 'Everyday People' by Arrested Development, The Beatles' 'Rocky Raccoon,' and Bruce Springsteen's 'Atlantic City.'

Mostly, in song writing, my experience is that there isn't so much inspiration as hard work. You sit there for hours, days and weeks with a guitar and piano until something good comes. But the urge to write is something you have to have. A conviction, an ambition to write and never stop until you think, 'This is the best I can do.'

I ended up renting a studio in L.A. for about 15 months. Starting in January of 2016, some of the guys in the band were coming out once every five to six weeks for like five days a time.