A Quote by Anna Meredith
With the classical stuff, I've always been better at the big brushstrokes and broad textures than spending ages honing a chord, or tweaking a sample.
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Being from a classical environment, I've always been provoked by classical musicians thinking that classical music is so much greater art than pop. I've always been annoyed by that.
Trey Spruance didn't want to tour for ages. And Dean Menta has always been our guitar-roadie during Angel Dust, and I remember him playing fantastically during soundchecks. During each gig, he was watching from the side of the stage, seeing Big Jim play stuff that he could play better.
When you have to start over from scratch, you can do it very differently than if you have this big thing that's kinda been building on top of itself for ages and ages.
Traditionally, the sample is always better than the stock you deliver to the store.
I'd rather do new stuff. The old stuff is better to talk about than to see. It always sounds better than it really is.
What makes Disney movies and Pixar movies always so good, hey take time and they're constantly honing, and tweaking, and rejiggering things, and taking influences from every cog, including myself, that can help. Any place where there can be inspiration. They make every moment very layered and very rich.
I'm speaking in very broad brushstrokes, but in France, there's generally this idea that you should look like the best version of the age that you are.
I'm always tweaking, always trying to make it better, constantly moving the levers and dials.
You can count on the fingers of one hand the times a B sample has not confirmed the result of the A sample. It's almost always a delaying tactic.
The Conservative party's always been a broad church, and I can appeal better than any of the other candidates to the centre ground to unite the country, and to voters who will ultimately deliver a majority so we can really get things moving.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
I come from a long line of lumberjacks. My family has a proud heritage of swinging the ax. I've always been quick to take on a big piece of timber, and I'm just as ready to topple the big spending in Washington.
I'm not a big guy that watches technique from my opponents. I try to do what I do best and hope that my stuff is better than their best stuff.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
Melo has a chance to be a better player than me, for sure. I feel at the same age, he's better than me. In real time, I don't think he's better than me. But I'm the big brother so I'm always going to have that edge over him.
Now fiscal responsibility is generally a good thing, and so a centrism mindlessly focused on tweaking legislation away from deficit spending has its uses.
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