Quotes About Music

I'm addicted to making music, but I don't want to do it forever. I just want a farm. Farms make you happy.

I forever felt that I've fallen right between the crack of way too young for the first generation of classic rock 'n' roll and too old to be brand-new. It's hard.

Forever Young, by Dylan, is one of my favorite songs.

When I was 13, I forged my date of birth so that I could get a Saturday job at Woolworth's, earning £1 3s 6d for the day. But my real ambition was to do something in the music world - or, at least, close to it.

Forget acting. It's all about rock 'n' roll.

Don't forget, Stephen Stills and I had a band in Gainesville called the Continentals when we were 15. And, of course, you had Lynyrd Skynyrd in Jacksonville.

Each kind of generation of bands forgets how they got here. Waylon Jennings came out and they're like, 'That's not Patsy Cline.' And everyone panicked, like, 'I don't know what happened to country music, but this isn't it.'

The big thing that everyone forgets, you're famous and on TV and everything, but I think there's something very rewarding to be able to write a song, record it, and have it turn out as you heard it in your head, or even better.

I forgot that being in a band was this much fun.

I didn't want to be the bass player everyone forgot about.

When I'm out on the stage, it gives me this rush and anything that's on my mind and everything I'm going through is forgotten about.

I am not scared of being forgotten, because I work to express myself through my music.

I love when people cover songs that are familiar but have been kind of forgotten about.

'Tryin' to Get the Feeling' has been a revelation. I'd forgotten how powerful that was. I'd forgotten how deep I can crawl into that one, and maybe because I'm older it means even more.

It's so liberating to play a song in front of 50,000 people that you've never played before. Not something you played a long time ago and have forgotten: Never. Played. Before. There's something magical about it.

In a certain sense, every time you sit down to write a song, there's a fear that you've forgotten how to do it.

All these years, I have never forgotten what my parents have given me, and that is why I take special pride in composing music based on ragas and used folk music in films like 'Apne Paraye.'

Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

I don't like concert-halls where everyone is sitting down and it's all very formal.

To articulate the ideas in your head, you need formal education, so you study music theory to do that. And that's the only responsibility that you have - to make that process work for you and express yourself. In this life, nothing is more important.

Cabaret is a great format. All you have to do is sing and be funny sporadically.

Not a lot of the country format I enjoy listening to.

Intermittently in my concert format, I sing a little jazz, a little scatting.

I always think of albums as the format. I think it's perfect. I don't think you can tamper with that. It's not just sound, the analog, which is so much richer. It's the format. You're constrained by just 45 minutes, and it's perfect to me. I don't want to listen to any more than, and I live and breathe music.