Music Quotes
Most Famous Music Quotes of All Time!
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Shaheed Diwas 2026
To me, music has to be about freedom. It's the most important thing in my life.
If you give yourself too much time, you kind of over-obsess about the music. It's not supposed to be like that.
There's a great energy and drive that takes precedence in a lot of rock and pop. It's about making a strong visceral connection. That's something that I think great classical music can have, too.
It's a small community, the classical music community, along with the excitement of new places and new things and this feeling of being at home wherever you go because that's where your community is.
I was doing some research and stuff and reading about Bowie. When he referred to his music as 'plastic soul,' I was like, 'That is the coolest thing I've ever heard.'
To think that my heart and my words and my music saved somebody's life, it takes a while to just sink in with me. But it proves to me that music is powerful.
I lost 100 pounds and embraced theater and music as what I was going to make for the rest of my life.
At a music hall, I'll get upset if someone coughs or if someone's cellphone goes off.
In art and music, particularly in the 20th century, there was a big period there where for something to be called profound you had to not be able to understand it.
It's really hard in this day and age, with radio and MTV being so consolidated, to get new music out there. I think we've become a really legitimate, viable avenue for getting new music out there.
With sad music, or music that's perceived as sad, there's a sense of solidarity that can be really powerful. My songs are all joyful to me.
Ultimately, words are only words, and its only the music that stands by itself.
I know there are some labels that put out music for art's sake, but I don't know which ones.
The expression of this idea is Queens of the Stone Age, but the idea is that you will never slack on the music and will always humble yourself at the alter of Rock.
Sometimes Queens' music is dark, but somehow it's ok to deliver it with a smile on your face because thing's are still going to kick in.
I've always heard music in my head since I was a little kid, so I've always played towards that. If I felt bad, that's what I did.
If you wanna be famous, then it's okay if the music is fake, because fame isn't real.
The problem is that music is selfish in that you need to make it for yourself, so that you can give it away, and those two things don't jive. I needed to find the right reason to play that had the magic and mystery and excitement that made me want to play in the first place.
Why would you choose being bitter over choosing to make music? Being bitter is gross. It doesn't amount to anything.
I always like to say that the music I'd like to make is somewhere between Pan Sonic and Scott Walker. But I don't sing anything like Scott Walker.
I'll try not to let a day go by without making a song. I don't think I've created a lot of music.
Life seems terrible and disappointing, so you need to find something you need to make you stick around. Music that makes me happiest is the saddest music, with the most emotional feel.
I just like playing music and doing it with people that I care about. It doesn't really matter where. It's like, 'Why don't we just play piano in a small bar? Why do we want to make an arena full of people happy?'
The only thing I've ever wanted to do is really make people happy, offer some sort of positivity with music that I've written. The Chili Peppers do that for people. They're already established. I still want something that came out of me, and out of my heart.
I like to think of my style as pretty versatile. And I'd like whatever I record to reflect that to be mostly genre - to be just something that people want to listen on to see what I'm going to come up with next. That's the kind of music I'm into.
After talking to people and meeting them every day, I realize that a song can be written from one perspective with an objective in mind. What is crazy about it is that many different people can take one song a totally different way. That is so cool, since music is a universal thing and a very personal thing.
I'm thinking about starting a solo project. But it will feature Tyler on all the songs. We'll call it something like 'Two Music Boys.'
We were friends for a year before we started playing music together. We both think it's pretty important. Tyler's my friend before he's a guy in my band, and when we talk to each other about things, it comes from a friend standpoint, not just a business standpoint.
With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's as much a part of the process as getting people to talk to you.
What most people know about me, they know through my music. This time, I've tried to open that door as wide as possible. These songs are a giant step closer to who I really am and what my music is all about. Hence the title.
Music is so 100 percent for me that the idea of giving that up in any way, shape, or form would be terrifying to me.
Every day I lugged my backpack through the halls, waiting for the final bell. Then I'd race home and hole up in my room, playing the drums and the piano, composing music.
I would never put any growl on my voice in concert - it's not the kind of music I sing.
I wasn't the best student, and for some reason, I always got music. While other people were having trouble figuring out notes on a page, I could listen to it once and play it back.
I grew up in Los Angeles, and my first musical theatre experiences were at the Music Center in downtown L.A.
We got to see Sondheim shows, 'Phantom of the Opera,' 'Cats' and all sorts of stuff. When you're 10 or 11 years old, it's just magnificent. The story-telling, the music - it lifts you out of your seat.
I think the French have a romantic cliche that Englishmen have great style, great music, irony and sense of humour. Well, sometimes cliches are true.
My brother has a tendency to get quite lyrical when he writes music; he gets so romantic, it's borderline. I make it slightly more aggressive. I make the round corner a bit sharper.
Acting and making music are quite complementary. Acting relies on someone else's writing and direction; writing music or lyrics doesn't. But they are both creative and personal in completely different ways.
I grew up with classical music blasting in my parents' living room and my older brother's practicing saxophone in his room listening to jazz... a beautiful chaos.
My little brother and I took piano lessons at a young age and played music together later on in life just to play around at home until we decided to make a record. Eventually we started having more and more songs.
The acquisition of an accurate and easy conversation, of some skill in music, and in pure and healthful diversions, are of great benefit in fitting one for social intercourse, in which one of the greatest sources of pleasure is found.
I love to listen to lots of different genres of music, but mostly movie soundtracks and music theater.
To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse - we've got these two actors, we want to see them naked, so let's bring in the music and the soft light.
The movies I watch and the music I listen to and the books I read - those are important to me. It's very important to me, and I don't know what I would do without those things.
I'm glad that it worked out that I get to act and play music and perform.
I've been playing and singing music since I was three or four years old. I was playing guitar, playing the piano.
Music, the greatest good that mortals know and all of heaven we have hear below.
The music that I'm known for is quiet and gentle, although when I was growing up and as a teenager, I was playing the opposite - I was screaming and playing bass and those loud electric guitars.
We always had a guitar at home, but it wasn't until I was 14 when I picked it up myself when my father handed me these sheets of music of the Beatles and some other classics. That's where I learned all the chords and learned how to play and sing at the same time.
I always start with the music and then try to figure out what I want to write about lyrically.
It was a big surprise when I started to get attention in Sweden, going from biochemistry studies to touring and living from music only. There were a couple of years while I went to university when I was OK with thinking of music as just a nice recreation.
I think comparisons are very on the surface. If I sing, like, 'Park Bench People,' and there's kind of a social undertone, people will say I sound like Gil Scott-Heron. But for me, the more insightful comparison would be a Roberta Flack or Nina Simone - people who really mix different genres of music.
I think a lot of times we think of music as being different from other art forms. You would never ask a sculptor or painter, 'Go paint this because you'll get paid more,' you know what I mean?
I am ever thankful to my fans for making me who I am today. I feel I have a real commitment to them-the responsibility to make music with soul, warmth and a bit of wisdom.
I left Starbucks in 2015. When I was younger, I remember looking at Justin Bieber and wishing I had all these fans, but you know what? Everyone has their path, everyone's path is different, and this is where mine's going. I just didn't want to work at Starbucks. I wanted to be writing music all the time.
For me, it's about touching as many people as I can and helping as many people as I can with my music.
I make music because it helps me. I feel better after I've written a song. I listen to my own songs, and they make me feel and think about stuff I'd done or someone said to me, and I feel a bit better.
Obviously, as the music business has suffered tremendously, with being able to illegally download everything, it's also become amazingly easy to find new bands, because everyone can put their stuff online. Even if you can't find a record label, you can find these awesome bands, all over the world.
If you really believe music is dangerous, you should let it go in one ear and out the other.
When you are listening to music it is better to cover your eyes than your ears.
I used to work at this store called Music Plus in San Clemente, California, when I was growing up, and then they became Blockbuster Music, and, like, you had to get a haircut to work there, and at the time I had some pretty long hair. So after that policy was imposed, I knew that was going to be my last summer working there.
If they opened things up and I could build a luxury condominium in Vedado, I would sell them in two hours here in Miami. Cubans in Miami would be the first to buy. In Miami, 80 percent of the people we sell to are foreigners. Havana is a city very similar to Miami... There's good music, good theater, good ballet.
I like to cook and have wine and listen to music and just chill with people that I love.
I fell in love with art and music and dance and acting and how all those things can cultivate something really special and unique - depending on the performance and the show. That really kind of helped me develop my love of theater.
We need music that makes complete sense to us, and that's how 'Mess' came about.
African-American music tends to have, at the very least, a glimmer of hope to it - sometimes full-fledged hope.
There's the soundtrack to The French Connection II'I think It's my favorite soundtrack. It hasn't been released. I actually had to go and get the film and just make a recording of it to get the music.
Presented with a song like Exit Music, It's impossible to know what to add without actually making it worse. How can you play along when It's already there?
It's what the Pixies always said about music - they were writing songs and just trying not to be boring. That was their main motivation and it worked for them. I remember reading that and thinking that was the way to do it.
It's like that scene from The Player when they talk about merging Star Wars and Kramer vs. Kramer, or whatever. You could do that with music and it would just be awful.
I was just very conscious that I could either bore people by having the music be similar for too long, or I could just wear them out and bore them in a different way by having it changing too much every minute or two minutes. So, there was that kind of balance to get right.
I think It's a bit of a disappointment that a lot of people's Golden Age of music is still the '60s.
I think it should be ambitious and good music does deal with life and art and all these wonderful things.
I suppose, counting back, if the Beatles had been influenced by music in the same length of time ago - you'd have to put that into better English for me, thank you - they would have been like a banjo orchestra. They would have been doing show tunes.
If I'm on a train, with headphones, MP3s are great. At home, I prefer CD or vinyl, partly because they sound a little better in a quiet room and partly because they're finite in length and separate things, unlike the endless days and days of music stored on my laptop.
If I think about music in the future, I imagine it often as not involving electricity, in some dystopian, post-apocalyptic future. And that's what I get from Penderecki: people making music by taking these instruments out of boxes and playing them. That's a very bizarre and modern thing.
I fell in love with electronics, which for me was the terra incognita, because I had never heard such sounds. If you'd asked me 50 years ago, I would have said the future of music is only electronic, but I would have been wrong. I learnt how to produce everything I needed with live instrumentalists, so I don't need electronics.
Apparently, there's this whole set of disgruntled people but obviously it's not my intention to offend anyone by changing the style of music that I've done.
I have realised how exciting and easy it is to be a time traveller by looking at paintings and films and architecture and playing music or listening to it. I don't think you necessarily have to live in the present all the time.
I've always used music for my acting, and I do have a kind of a very personal play list that I create.
But for the children of the poorest people we're stripping the curriculum, removing the arts and music, and drilling the children into useful labor. We're not valuing a child for the time in which she actually is a child.
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