Quotes About Music

In the middle of Mississippi, so many kinds of music came, but it was Nashville and country music that pulled my heart.

I've often said that with Black Sabbath you ought to have put a lasso around the sound and pulled it in. That's the best way to record Black Sabbath.

Like a Star' has a very simple melody, and when you play it, it's only about three notes for ages, and it's quite boring. But when you hear the chords, the chords are sort of different than the melody, and it's pulling it around and making it mean something else.

To me, it's like the difference between a pen and a paintbrush. Music draws from almost the identical place as art does, which really is that intangible - it's like you're pulling from the ether. I don't know where it comes from. Nobody really does. It sort of arrives when it wants to.

I think The Czars had an identity crisis, as we were five guys pulling in different musical directions.

I describe my projects using colors because it's the best way to describe 'em. I would say that 'Moon Shoes' was way more colorful than a lot of my other music, just because I was pulling from so many different places. Imagine learning how to talk for the first time, and you're just saying everything.

I'm always pulling and really feeding off of my inspirations. I think most musicians do.

Musicians are kind of like pirates, you know? You have to be free to follow whatever your muse is, or wherever life is pulling you - especially if you aren't in, like, U2, and making millions and millions of dollars.

For me, the music of the Beatles then was serious and very, very serious art. So I couldn't take a picture of John laughing his head off or pulling funny faces because he was a serious artist, even when he was only 20.

A lotta years I was out there on the road pulling one-nighters. Then I got hired to sing in Sam Donahue's band in 1963. I was 19 years old.

Will you see Pulp again? Who knows. I'm not stoking those particular rumours.

The stage is our pulpit, and you can use all of that energy and that music and the lights and the colors and the sound. But you know, you've got to be careful.

If you grow up somewhere where the pace of life is very slow you enjoy the gaps between the pulses. I read a lot and, boy, did I practise the piano.

Back in the day, Motown was on the pulse of young America. It wasn't about just dope contemporary. It was pop, it was R&B, it was all of that.

I wouldn't be able to do the songs as long as I've been doing if I didn't feel the pulse of the world. But I can feel people and I know what they want. I feel like I know how they are, because I am the people. And I just have a gift.

When you write, it's making a certain kind of music in your head. There's a rhythm to it, a pulse, and on the whole, I'm writing to that drum rather than the psychological process.

We just love international music. We love the climate of that sound, it's that pulse that we just have to appreciate.

You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.

Rock & roll doesn't belong on a grid. It belongs on a pulse - a natural pulse.

We can judge the pulse of a song and match it with our listeners' sensibilities. I think we do this extremely well, and it helps us a lot.

We don't pump out albums eight months apart from each other.

I cut 'Diamond in My Crown' in my home in Georgia, because I wanted to use an old 1848 pump organ that my mother-in-law had gotten for Emory for Christmas one year. His mother would be proud to know that pump organ was made use of.

I started producing for Pump - I produced his first songs. 'Lil Pump,' 'Elementary,' 'Johnny Dang' - all that I produced.

No shade, and shout out to Lil Pump, but on a track like 'Gucci Gang,' he's not really saying much.