Music Quotes
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Shaheed Diwas 2026
Even if the production doesn't feel African, the vocal delivery - singing through your nose. Specifically, Highlife music from Nigeria. That was the first music I ever heard as a child. So singing through my nose is something I do often, and that's directly rooted in my heritage.
The trick of Afrobeats is it doesn't just move your upper body, it moves your hips as well, and I think that's what people have been missing in popular music for a while. I think that's what people need around the world.
In my music career, I never was interested in working and writing and creating songs based on what kind of rewards I could receive in return - a hit song, per se, is what most contemporary artists have to deal with when they deal with a label.
I was very small when I started making music. I think the first song might have been when I was, like, in grade one, maybe? It was really ironic, cause it was a kid talking about taking time with growing up.
If you're serious about your music, there's this thing called The Remix Project in Toronto, and it's an art incubator, and it's basically like free school. If you don't got money for studio, you don't have the networks, they help you.
I feel like my objective in music is to take a hammer and nail and chip away a piece of my heart and give it to someone, so I feel, with merch, it's a tangible parallel of that.
Some people's parents listened to the Beatles... but my family is Alquimia, Celia Cruz, and Carlos Vives - this old, rich Colombian music. I loved hearing that while I was growing up.
Music's always been in my home. My dad plays guitar, and I grew up listening to cumbia and salsa and boleros.
My mom says that she caught me one day in front of the TV watching opera. I was trying to sing back the opera. She saw that I really liked music, and so she put me in piano lessons when I was about three years old.
I purposely try to make my music cinematic. I try to inspire visuals even though I'm only an instrument of sound.
I'd get out at school at 3:00 P.M., show up to dance practice at 6:30 P.M., practice for three hours till 9:00 P.M., get home at midnight, and try to do whatever homework I could before getting back up for 7:00 A.M. But I did it because I liked dancing, and I loved the music.
To be honest with you, the fact that people vibe with my music is just a really positive byproduct of something that is just a reflex to me. The fact that people even care to listen means a lot to me.
I'm not embarrassed by any of my music. I'll even own up to the old Backstreet Boys albums.
I love Barbra Streisand and Sade who've both had careers in soul and I want my music to have that timeless quality that isn't necessarily now.
I guess I'm a real fan of older music, and that's what shaped my taste and the way I sing.
I like so many different kinds of music that I've never allowed myself the limitations of one particular range.
What's great about music is it takes so many kinds of people, including me. Everybody is in a different place.
My second record I used a producer, which was frustrating in a way, because I think a lot of the punky spirit and provocative nature of the lyrics didn't come across - the music was pretty.
I do notice that I spend a lot of all my time steeped in different forms of myth, such as English folk music, for example, not really studying it necessarily, but just trying to experience it so I can recall it later.
You know how a lot of people say, 'I lose myself in music,' or 'I like to escape,' but I want my music to be more of an awakening. I want it to make people to be aware of life; I don't want my music to be a distraction. I want to light a path.
People who love R&B will love my music, people who love rock will love my music. It's soulful, it's pop. It's a sound that relates to everyone.
I see my music as Emotional Therapeutic Pop music that bleeds into loads of different genres.
I grew up watching the films of 'Carousel' and 'Oklahoma' and 'The Music Man' and 'My Fair Lady' - all the classic musicals of that golden era, The sort of more modern musical theater, or what was modern when I was at a ripe teenage age, I wasn't really listening to that stuff. I was really more raised on the classics.
I just lived openly, as loud as I wanted to be, which translated into our music really well.
The '90s is my favourite era of music, especially the girl-bands like Babes in Toyland.
I'm not an '80s fan. I'm more '70s New York pre-punk kind of thing, and I guess I grew up with '90s grunge, post-punk pop music.
After filming, I can't wait to shake off all that '50s primness. I'll go out to a gig and dance ridiculously. I love to lose myself in music. Just letting go - it's dead important.
I, in middle school, started really, really liking country music because it tells a story. It's really dramatic; I'm really dramatic. There's a lot of emotion. It was like, 'This is a perfect fit,' and I was teased mercilessly for it.
I love power ballads and the earnest lack of irony and emotion that exists in '80s music, along with synth guitars, of course.
I listen to music when I'm feeling down or just a certain way. I don't know what I'd do without it!
My friends are mostly familiar with music that plays on the mainstream radio.
During 'Idol,' I wasn't expecting anything. I just wanted to survive the competition, but my album and my music are a big part of who I am. Hopefully it translates well and I keep growing as an artist.
I've always loved color because it's a little bit like music. I love that it seems to be both physical and ephemeral and engages us as a metaphor for our feeling lives.
Music was my passion, and I started out as a singer. It's just natural to me to keep pursuing my music career.
There were country songs I connected to when there was pain, when I saw things my family were going through. It was my way of acknowledging I wasn't OK: music tapped on the door; I could work out these emotions by singing.
I don't believe in sampling some Tibetan music just to make it sound groovy, but you do your homework, you understand what you're doing with it.
I'm preparing for a multimedia theater piece, Airport Music, that's coming up in New York City.
I had written a tune called 'Shake, Rattle and Roll,' but the white stations refused to play it - they thought it was low-class black music. We thought what we needed was a new name. But a white disc jockey named Alan Freed laid on it, and he thought up the name 'rock n' roll.'
Kansas City, I would say, did more for jazz music, black music, than any other influence at all. Almost all their joints that they had there, they used black bands. Most musicians who amounted to anything, they would flock to Kansas City because that's the place where jobs were plentiful.
I download, like, forty songs a day, I'm a big music collector and a big record collector.
Cartola is an artist from Brazil who didn't record until much later in his life, but had a big influence on a lot of famous artists down there, like Gilberto Gil. I discovered his music recently when I was in Brazil.
I've run 350 days a year for 20-plus years, and never once have I listened to music. It's a time for me to think, listen to natural sounds, be outside.
I still maintain several different outlets of artistry, like my music, photography, writing and all those things. I don't pigeonhole myself into one thing. I do all sorts of things, and that's so important to me.
Acting was always something I loved doing, but I didn't know that I would pursue it professionally. I really loved doing plays at school, but I was in a rock band and ended up going to a school for music.
The first record I ever listened to was Elvis Presley, and I remember thinking, 'Man this guy is cool!' The swagger he had really helped my confidence, because he really made me think that a white boy could make music like this.
Absolutely, I grew up listening to soul music. People like Stevie, Aretha, Ray Charles, Michael and Prince. My parents' record collection was all I had when I was a little kid. If it wasn't that, it was something else in their collection.
My parents were both very musically inclined, they were both songwriters and musicians, so we grew up in the house singing music together, and R&B had a huge strong arm in the foundation of my career.
I wasn't that academic, but I always made sure I was earning money. I never wanted to put all my eggs in one basket. Even when I started doing music, my parents were like, 'You need to work; you can't just live off music.' I always knew that. So I worked until I knew I was going to be financially okay.
When people in stadiums do the Wave, it's the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.
When they look back on me I want 'em to remember me not for all my wives, although I've had a few, and certainly not for any mansions or high livin' money I made and spent. I want 'em to remember me simply for my music.
Normally, things are viewed in these little segmented boxes. There's classical, and then there's jazz; romantic, and then there's baroque. I find that very dissatisfying. I was trying to find the thread that connects one type of music - one type of musician - to another, and to follow that thread in some kind of natural, evolutionary way.
I heard this music coming out of the radio and it was 'Ain't Nobody's Business.' It got me. I thought, 'I can do this.' I decided just like that. No romantic story.
Irving Berlin was the greatest songwriter of all time. I was in awe of him. But his music wasn't my music. My music was the blues.
'Hound Dog' took like twelve minutes. That's not a complicated piece of work. But the rhyme scheme was difficult. Also the metric structure of the music was not easy. 'Kansas City' was maybe eight minutes, if that. Writing the early blues was spontaneous. You can hear the energy in the work.
I would have hated to been locked into music for the last 20 years and not been able to have a family.
Music shouldn't be based around money or politics. Music should be a bunch of people that really do great songs together doing them together for the pursuit of having a good time.
You can have music and it will stand alone by itself, but you can't have a movie without it.
Music is the most powerful thing on this earth, and it's hard to be angry when you are listening to music.
I don't know why, it's the same reason why you like some music and you don't like others. There's something about it that you like. Ultimately I don't find it's in my best interests to try and analyze it, since it's fundamentally emotional.
I mean, just because you're a musician doesn't mean all your ideas are about music. So every once in a while I get an idea about plumbing, I get an idea about city government, and they come the way they come.
I'm not trying to clock scores in this lifetime, it's just that things are better now than they were like five, ten years ago. Music has gotten a lot better. There's a lot of people who are committed to - soulfully.
We're not uncomfortable with it, and we've already been through enough of the music business where I'm not really worried that commercial success is going to in some way - we're already past saving, you know what I mean? It's too late for us.
If our music survives, which I have no doubt it will, then it will because it is good.
I think we could have done a lot more great music, so I was disappointed that we didn't continue making records and touring, but it's hard to argue with 10 good years.
I think that technology has both introduced new sounds but also allowed an increasingly painterly approach to recording music as you can now paint over what you've done and more and more refine an existing performance.
Music has become a bigger business, and with that there is more pressure to succeed; I think that it creates a negative pressure for being creative.
In 1955 music wasn't that important. Music was a kind of a special thing you went and did.
I always liked having a good time. I got into this business because I got fired from any job I ever had because I stayed out late playing music.
That's always been a dream for me, to be able to collaborate and make music with the people that inspired you to make music.
Compared with my brother, I always felt like Richard III, some clever humpbacked thing who surpassed him in the end. He was the one who read books, but I became the writer. He painted and drew, but I was the one who got accepted by the High School of Music and Art.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
When there were financial difficulties they still managed to provide us with music and art lessons.
The fact that the theatregoing public likes my music is no credit to me. There are many other composers who write better music that the public doesn't like.
I like doing music. I like singing. I love all music. Music kind of goes hand in hand with acting anyway.
I try not to shut any doors before I even get there. I like doing music. I like singing. I love all music. Music kind of goes hand in hand with acting anyway.
When I have sat at home with this God-given talent for music for a long time, somebody approaches me out of the blue and asks me to play for them. It's almost as though there's a force somewhere which is saying 'no sittin' around, out you go!
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