Quotes About Harmony

I want to reconnect to my animal life.

I wanted to record an album that moved through the body's chakra energy system.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

I'm Not Afraid of the Police' is the first song I wrote and recorded since moving back to Los Angeles. It's a loud-pop, crazy-guitar, big-harmony song with all the police sirens created by guitars and ADA flangers.

I have a recording that I did of instrumental songs.

We're all players and musicians and we sure all get along good. We just clicked right off the bat. We started playing and then we almost immediately started recording.

Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.

I accept recording with everybody, as long as it's with a mariachi.

I like to collaborate with other people for studio recordings because I believe collaboration, in any form, makes music better.

You know, I did records by myself and I always will say the Isley Brothers, and featuring Ronald. I won't, you know, just, I won't try to deviate from the Isley Brothers, because that's what the family dream was all about.

All I want to do is sing on other people's records.

It's not that hard to imagine the natural world recovering it's health in our absence: it's more difficult, and more necessary, to imagine it recovering its health in our presence.

If somebody feels that a certain recreation fits into their film or a particular song fits into the film, I think that is the reason those songs are picked.

My favorite bands are the Allman Brothers and Red Hot Chili Peppers.

Big Red Machine is really a community effort: I guess it involves almost 30 musicians. It does come out of our friendship, but it's really something that is deeply collaborative.

At the end of the movie all of us have this shared redemption.

I like to keep things deceptively simple, but hard-hitting. You can reduce everything to the perfect, essential harmony. It's what used to be done with earlier music like Gregorian chants.

If you have a harmonious society where people within the family are living in harmony... knowing what their responsibilities and duties are, and knowing how to resolve their issues and their conflicts without violence, then violence against women will be reduced, and women will feel they have a voice.

I loved Jimmy Reed, the chord changes, the lyrics.

I consider I've had a good day when, among the lines I've written, I've produced from my innermost core what I call 'the appearance of the pearl.' That could refer to a discovery, a sense of harmonious cohesiveness, or something like that.

And if you are playing in several meters at once, there has to be a - not a rigid - but there definitely has to be a reference to a common pulse in the band.

My art is based on impurity. You have to mix things from different refined cultures to get something raw, to make it go again.

I had a handful of records, but when I was 11 years old, I liked Puccini as much as Little Richard. They both made sense to me.

We are all the same person trying to shake hands with our self.