Quotes About Music

I didn't start to collect records and listen to guitar players properly until I went to art school, when I'd already been playing for five years. So my style was already formed, and that's why I think it's so unique.

I'm not joking around when I've said occasionally, trying to learn how to play a D chord properly has been a very big thing for me.

You can't really dance properly to James Brown. If you dance to James Brown, you look like an idiot. There's a lot of jerking.

Hendrix was a perfect guitarist. And that's all I wanted to do as a kid. Play a guitar properly and jump around.

We can even sing off key, but if it's produced properly it can be a hit.

Their eagerness for the big-band music and their ability to grasp the essence of it made me realize that today's generation has not been properly exposed to the big-band sound.

I remember growing up singing; even when I was just three years old, I was singing all the time in the house. My parents said I was singing before I could even talk properly.

One of these days, I'd like to put together a revue of all my music, which would probably turn into a marathon. There's a couple of hit songs from almost every phase of my career. At the same time, visually, if you don't handle it properly, it could be a cacophony of craziness, because there's just so many different kinds of music.

As long as it's good music. I love all music. It's got to be constructed properly.

I was 15 when I started making music properly.

I know that a song is working when I can properly dance on it.

I got into cello in the fourth grade, and I played that for years. I adored playing it. I got an opera coach when I was 12 because I really wanted to learn how to sing properly. The only proper way to sing, I thought at that age, was opera.

It's nice to work with people who know how to mic drums right and how to record properly. But there's something to be said for doing it yourself.

When I go with different producers, and they've thought about what they want to do, I think they feel a little bit more free, because they know almost any sound will work on my record if we pull it together properly - so they don't feel so limited.

I came to Nashville in the early '90s, and I thought, 'OK, enough is enough. I write songs; I just don't have the backbone to show it to anybody. I want to go to Nashville and learn how to properly write a song.'

It's not like I actually understand the properties of sound.

My father was in property, but he was a great lover of music.

A lot of Arabic composers such as Mohammed Abdel Wahab mixed sounds and instruments from all over the world. It's important to be able to propose new ways and new sounds without being stigmatised, censored or put aside.

De Palma is delicious! He respects music; he respects composers. For 'The Untouchables,' everything I proposed to him was fine, but then he wanted a piece that I didn't like at all, and of course we didn't have an agreement on that. It was something I didn't want to write - a triumphal piece for the police.

My proposition is that music is at the heart of what 'The Magic Flute' means: that it's Mozart's music, not the words, we should be attending to. Music expresses what can't be expressed otherwise.

Preparing for a future in music is an expensive proposition.

I think all those artists are artists who are appreciated because you believe their words and you appreciate their honesty in their music. If you don't appreciate the honesty in the music, the beat can be fly as hell but you'll never give an emcee props.

I read a lot of autobiographical stories, and I write plays and prose. And I play piano and cello. A lot of my downtime is devoted to that.

There's music every day. I don't think I could write without it. Not that I listen while I'm writing. It's more hearing a piece of music that I want to somehow convert into prose, as a creative inspiration.