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Elton John can be a master of the sleight of hand. The arrangements make it seem like there are substantial melodies underneath the tracks - but almost nothing demands repeated listenings. Similarly, he always sounds like he's singing up a storm, but his voice glosses over the material, reducing most things to an uninteresting sameness.

Elton John himself never seems pretentious but Bernie Taupin's lyrics often do - sometimes pretentious in a clever sort of way, but pretentious nonetheless. There is a conflict between Elton's and Bernie's personal styles, no doubt about it.

As long as Elton John can bring forth one performance per album on the order of 'Someone Saved My Life Tonight,' the chance remains that he will become something more than the great entertainer he already is and go on to make a lasting contribution to rock.

Barry White seemed so filled with self-parody at first that it was easy to dismiss him. But it is becoming increasingly obvious with every additional release that he is a very talented man.

As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.

When the Beatles cut old rock n' roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.

The Beatles never sounded intimidated by their idols. They never interpreted old rock; they simply played it as well and as joyfully as they knew how. On 'Rock 'n' Roll,' John Lennon does nothing but interpret old rock.

The Beatles did their best cover work on Little Richard's 'Long Tall Sally' and music influenced by Richard, such as Larry Williams's 'Dizzy Miss Lizzie.'

The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.

Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.

Part of me believes that the completed record is the final measure of a pop musician's accomplishment, just as the completed film is the final measure of a film artist's accomplishments.

It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.

Since her landmark 'Tapestry,' Carole King has both oversimplified and over elaborated that masterful album's style until her music has become something more overtly but less effectively personal.

While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.

There is something complete about Stevie Wonder, and one senses that he is not only exceptionally important today, but will continue to be for as long as he chooses.

Aretha Franklin's 'Let Me in Your Life' is one of the few recent R&B albums that places the emphasis entirely and deservedly on a voice. Many R&B producers have been making records on which the singer is outshined by the song, the arrangement and the sound.

Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.

On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.

Joni Mitchell seems destined to remain in a state of permanent dissatisfaction - always knowing what she would like to do, always more depressed when it's done.

'Let's Get It On' is a classic Motown single, endlessly repeatable and always enjoyable.

Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.

The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.

'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.

To her audience, Janis Joplin has remained a symbol, artifact and reminder of late Sixties youth culture. Her popularity never derived from her musical ability, but from her capacity to link her fantasies of freedom and immortality with ours.

'Call Me' is not an exceptional Al Green album, but it is as solid as a rock at its center.

The greatness of Mac Rebennack, alias, Dr. John, also known as John Crieux, rests on his command of the musical use of idiomatic expression. Not a technically well-endowed singer, nor a great songwriter, he leaves his mark through the discipline and control he exerts over all that he touches.

There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.

James Taylor may be an all-American boy but he isn't Horatio Alger, and the lionizing of many rock stars by the rock press has as much to do with old fashioned rags-to-riches stories as does the straight culture's deification of its idols.

What makes the Stones' arrogance so divine is that we all believe that long ago and far away they weren't rich and famous but poor and struggling, just like us.

In the end, the sign of Aretha Franklin's artistry is that she always leaves her mark - first, on the music, then on us.

The Faces do not, as some have recently alleged, play badly. They are more than competent, especially at creating a mid-Sixties Rolling Stones-styled groove, as their excellent version of 'Memphis' proves.

One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.

Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.

The early Stones were adolescent rockers. They were self-conscious in an obvious and unpretentious way. And they were committed to a musical style that needed no justification because it came so naturally to them. As they grew musically the mere repetition of old rock and blues tunes became increasingly less satisfying.

The only criticism heard with any frequency of Elton John's first American album, 'Elton John,' was that the production was too grandiose. The melodies were superb, and lyrics frequently very good, and the performances flawless.

Soul was the music made by and for black people. For most of the Sixties it was thoroughly divorced from white popular music, but by the end of the decade several artists with their roots firmly in both soul and R&B traditions had crossed over.

'Dance to the Music' was just Sly Stone being his natural crazy self right from the beginning. The man was an original and his first AM hit was nothing if it wasn't the example per excellence of the Sly Stone music machine.

Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.

I saw rock n' roll future and its name is Bruce Springsteen.

My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.

There were many stars in Motown's firmament - among them, Stevie, Marvin Gaye, Smokey Robinson, Martha Reeves and Diana Ross - but I happen to have loved the Four Tops most of all.

The Who, England's most self-conscious band, have released 'Quadrophenia,' which in turn freezes in time our image of the mid-Sixties Mod sensibility.

'Band on the Run' is a carefully composed, intricately designed personal statement that will make it impossible for anyone to classify Paul McCartney as a mere stylist again.

Ringo Starr may not have much of a voice, but when he sang a song on a Beatle album, it had its own special charm.

Bob Dylan has always sealed his decisions with the unexplainable. His motives for withholding the release of the magnificent 'Basement Tapes' will be as forever obscure as Brian Wilson's reasons for the destruction of the tapes for 'Smile.'

Often, equipment can as easily function as a security blanket for musicians unwilling or unable to risk anything personal in the studio. Whether one catches the feeling on a record is a subjective matter. How can you be sure? The machinery can hold out the promise of at least mechanical perfection.

It is by now beyond question that Elton John is a competent and classy entertainer. Few people who have achieved his popularity have succeeded in maintaining his standards for performance and professionalism.

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