I always wanted to be a musician from when I was kid. It was always a massive dream of mine. School was also really really important to me and having an education was top of my priority. So I really wanted to have a degree before I tried anything in the music industry.
As humans, we have the tendency to call on God only when we think that we're in dire straits as opposed to cultivating a real relationship with Him every day. And that's what my music tries to convey to all the listeners - try to cultivate it every day.
I am really addicted to music.
My big love was the Beatles. I was more into music.
We play happy music, and we make people happy. That's why they like us.
Whether it's performing a concert with my quartet or sitting in with my peers, enjoying musical conversations at home with my brothers or hanging and playing choro with my friends - sharing moments in that bright space of music are the happiest times.
L.A. was just an inspiring kind of place to be. It felt like going to Paris in the Twenties and Thirties. Everybody's there. Everybody's hanging around. Everybody's talking about music.
When I was 16, I really decided that music was something I wanted to do.
Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.
But Buddy was an upper. He was happy. He loved music, and he was really happy. I don't know... I don't believe in reincarnation at all, but if all that stuff is true, then he might have been on his last time around.
Rush has never been a spontaneous group. We may be spontaneous in our writing, we may be spontaneous as individuals in our day to day lives... certainly I think am and always have been, but I think when it comes to Rush and our presentation of our music it's quite controlled.
I gravitate towards happy music. I love the Beach Boys.
I had all the normal interests - I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.
There's an innate feeling when I choreograph in juxtaposition to how I feel as a dancer. When I choreograph, I never really look into the mirror. But as dancers, we always check ourselves in the mirror. I do feel that when I choreograph, I am making a dance on my own body. Much of it is my own response to the music.
Just look at what is right in front of you. People don't do that. They see what they expect to see, what they want to see, what conventional wisdom tells them to see. They only hear the music and not the lyrics of human events.
You know I want to sing for people, I want to jazz people up I want to make new music that they've never heard.
I've seen and learned enough to keep my music fresh and spread out.
I started singing when I was five. I grew up the youngest of four kids who all studied classical piano, so you could say I've been listening to music ever since the moment of conception.
I care about being able to play. If you're playing with integrity in the music, then that's what matters. But it wasn't that great for me because it was kinda like going back into the old times without the guy.
I love making records; I love making music; I love writing songs.
My life so common it disappears and sometimes even music cannot substitute for tears.
I have always loved creating and entertaining. It started with music, singing. I grew up in a household filled with music - not pop but old-school stuff, Ella Fitzgerald, Louis Armstrong.
We're thrilled to expand our relationship, knowing that with the great team at the Music Group, Word, and Warner Bros., and with their proven record of excellence, we're looking ahead to an even brighter future for Curb.
I can understand how some people might resent me for having the audacity to continue playing music, but it'd take a lot more than that to stop me from doing it. I started Foo Fighters because I didn't want to retreat.
I got a scholarship to Seattle University and I was writing arrangements for singers and everybody. But the music course was too dry and I really wanted to get away from home.
I think the first thing you should know is that nobody in country music 'made it' the same way. It's all different. There's no blueprint for success, and sometimes you just have to work at it.
There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.
I've been playing and singing music since I was three or four years old. I was playing guitar, playing the piano.
I am a singer; my job is to create music and harmony. Wherever I see harmony, I would go towards there.
We are in a technological age, and 'Social Music' aims to reflect that spirit of advancement, collaboration and connectivity while still remaining 'human.' And Stay Human, then, is a reminder of what connects us all. It's our mantra.
It takes a special, selfless person to make music that accommodates the universal need for mindless escapism - or what I call oblivion.
The truest expression of a people is in its dances and its music. Bodies never lie.
I have a really full life, both within music and outside it.
I've always been shy, but I see that as a good thing because it kept me focused on music. When I was in seventh grade, I asked my parents for a mobile recording system for Christmas, and I got it. I didn't come out of my room for years after that. I'd get invited to the movies and I'd say, 'I'm gonna finish a couple of demos.'
I've never really aspired to the spotlight; I just wanted to do music, which is kind of weird because music comes with that spotlight.
I always knew that women, some women, at times find it very difficult to find music.
