To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.
I know that people don't listen to music much in the way when they'll put on a CD, sit down, have a drink or go on a car journey. People pick and choose and just listen to tracks. But when I make a record, I try to think about it as a 50 minute musical journey, so the mood is very important, as is the sequence of the songs.
I think I'm more influenced, just in general, not by blues artists, but more by stuff from Curtis Mayfield, Stevie Wonder. Stevie Wonder is probably my biggest musical influence of all. And Donny Hathaway.
The French are the wittiest, the most charming, and up to the present, at all events, the least musical race on Earth.
I basically was in charge of the Jackson 5 - all their creative, when it came down to the studio, and all their musical endeavors. I tried to create a Hitsville on the West Coast.
When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
Because my musical training has been limited, I've never been restricted by what technical musicians might call a song.
Hamilton was young, dashing, and romantic. He lent himself perfectly to be the star of a musical.
My brother really shaped my musical taste when I was younger. He turned me on to classic rock like Led Zeppelin, and then he got me into R.E.M. and U2.
I told her it was a bigger than life musical, that all the actors were going to be about the same age, late twenties into thirties. It would be a style; a kind of surreal high school.
As for the symphonic activities... when I was a student at the Eastman School of Music, I became exposed to a lot more musical forms, elements, opportunities, and I fell in love with strings and their uses.
What a thrill it was to play opposite Maurice Evans in this brilliant, dazzling musical, based on the life of two of the greatest personalities in stage history.
But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.
My whole musical life has been an educational process, and I'm just furthering my education and filling in the blanks. There's stuff that I want to know that I don't know.
Sometimes I write them down in musical notation as a trigger to remind me about certain directions to go. Or I can be specific about a sound I'm looking for.
You don't go see Primus to see what kind of new clothing I'm wearing or what my new hairdo is. You come to see Primus for the musical experience and the visual experience. I think, anyways. Maybe I'm wrong!
I feel pretty comfortable in a lot of different musical styles. I like rhythm, and I like melody and so forth.
Being a poet, the advantages of dyslexia are many, affording me sensitivity to the musical nuances of language and the ability to juggle complicated ideas and narratives simultaneously.
There is nothing is more musical than a sunset. He who feels what he sees will find no more beautiful example of development in all that book which, alas, musicians read but too little - the book of Nature.
I thought my life would seem more interesting with a musical score and a laugh track.
It would be great to do theater one day, but I don't think I'd do a musical.
When you hear someone from the very north of Scotland speaking, I think its nice, very musical and harmonious.
My grandmother was a classical pianist, so I grew up with Schubert, Mozart, Beethoven. I studied piano as a kid. My musical background and upbringing was very much a mix.
America does not need gorgeous halls and concert rooms for its musical development, but music schools with competent teachers, and many, very many, free scholarships for talented young disciples who are unable to pay the expense of study.
I think the singer/songwriter genre is going to be like bluegrass and jazz. You can make a living at it, but it's not part of the musical mainstream anymore.
My earliest professional musical experiences were really as a session player, and every day was an adventure. Three sessions a day, every day, and you never knew who you would be working with until you arrived at the studio.
I don't like rock. Honestly, I like to listen to it, but it's not for me. There's a lot of musical genres that I find interesting, but they don't suit me. It's one thing to listen to different genres, but to perform a genre that isn't yours is counterproductive.
My father was a classical singer of baroque music, and my older sister was in musical theatre, and I thought about doing the same thing but then realised straight acting was for me.
You don't see me in the club. And the reason is because I would rather be in the studio mixing these musical potions. Now sometimes they blow up in my face, and there's a lot of smoke. But that's who I am. Music is what I do.
Shakespeare is rhythmic; he is musical in the sense that he likes poetry, and he's musical because he constantly refers to settings where there's singing and dancing.
'Boy,' 'October,' 'War,' 'The Unforgettable Fire' and 'The Joshua Tree,' those records, they're part of my musical DNA and structure.
And the invention of transformations of certain figures has become the most important in musical composition.
I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.
The ear disapproves but tolerates certain musical pieces; transfer them into the domain of our nose, and we will be forced to flee.
In our culture we have such respect for musical instruments, they are like part of God.
Since the age of 12, all my musical thinking has been influenced by Afro-American music.
