Quotes About Music

I love music, I love to sing, but I am terrified of singing in public.

I was playing a singer-songwriter, so I started writing, and I started going up to different places around Los Angeles and reading poetry of my own, which terrified me, but I had to do it. I picked up a guitar and started learning guitar.

At the interview, they asked me what music I liked and what I thought of Britney Spears. I said she was an idiot. Then they said I'd got the job. I was absolutely terrified.

My music seems to have a bigger mission than I have, which is very soothing but also very strange because people see more in me than I see, which can be terrifying.

It's terrifying to play your favorite band's song in front of your favorite band.

Performing was terrifying.

I busked a few times in Asheville, North Carolina, when I was 18. It was terrifying. I was probably just trying to meet girls.

The idea of creating film scores was terrifying for many years, into my 30s. It struck me as a career of doing 30-page term papers the night before they're due.

Seriously, though, I think the only musical term that's ever put a bee in my bonnet is 'shred.' I tried to peddle the term 'Terrifying Guitar' to the world, but it just didn't stick. Now we've got 'shred.'

Even at a McFly show, if I don't have a guitar for a few minutes... and suddenly being on my own, without my band mates and on the dance floor with no instrument and not singing, it will be absolutely terrifying.

'Heart on Fire' didn't do as well as the last record in most territories, but South Africa is one of the places it did really well.

The decision for Beyonce and Music World Entertainment to part was mutual. We did great things together, and I know that she will continue to conquer new territories in music and entertainment.

Charles and I are from Augusta, Ga. - so we come from James Brown territory, soul music and Motown. And Charles has always had a lot of Southern rock in there as well.

I've never seen America as being one place, but I think the record industry people I've spoken to - although they will acknowledge that the cities are completely different from each other - I think they still handle it as being one territory.

In 2010, aside from that niche of music that I have no interest in - Black Eyed Peas territory, disposable pop stuff - there's almost an incentive to go back to making music as adventurous and groundbreaking as you can, because nobody gets a big hit anymore.

In the '60s, people were still very protective of each field that they belonged to. Avant-garde artists didn't know about rock or pop or jazz. And the jazz people of course didn't want to know about any other music. They were all just kind of protecting their territory.

I sit around and try to play along to certain songs that I really love. It helps you explore new territory.

My father never had to deal with a territory band.

I know that I can sing really loud. It's like having that really big Evinrude engine on the back of your fishing boat. But I've been trying to be more dynamic with my voice, and not just singing on 10 all of the time out of terror.

When I started out, I was absolutely awful, I had no voice, I didn't have a lot of stage presence and most of the interpretive intensity that I brought to the experience was actually terror.

I would like to be a terrorist for music education - to make a complete reform, all over the world.

I remember hearing Sonny Terry and Brownie McGhee, Big Bill Broonzy, Chuck Berry and Bo Diddley and not really knowing anything about the geography or the culture of the music. But for some reason it did something to me - it resonated.

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.

Before I joined The Beach Boys, I was working at Columbia Records as a producer, and saw The Byrds come in and do their first overdub before Terry even met them.