A Quote by Brian Eno

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
When you're younger and a little more innocent, you write whatever [lyrics] comes naturally. But as you get used to writing you try to steer the sound and music to different music and throwing in the "kitchen sink" of sorts into the music. With that way, you end up putting in much more than before and you could even make much more next time around.
People around me are always an inspiration due to their love of the music and they help me to generate ideas for music. But it's really the passion and drive I have for my music that keeps me connected. I recorded my first song in the studio at 8 years old and I've taken it seriously since then. Making music is fun to me so I aim to translate those feelings into the music.
I'd love to do a song with Tom Waits. Around when I was like 17 or 18, my buddy, D-Money, put me on the Tom Waits and I literally at that point got every one of his albums and kind of studied his music. I like that he provides an entire world for the listener. He's hopefully someone that I could vibe with down the line. I'm not sure how it would sound or even how it could work, but he's always been a huge influence.
I'm from Louisiana, and that's where I got my start, in Cajun music. There's a huge music scene down there centered around our culture. Those are people that are not making music for a living. They are making music for the fun of it. And I think that's the best way I could have been introduced to music.
Writing more and more to the sound of music, writing more and more like music. Sitting in my studio tonight, playing record after record, writing, music a stimulant of the highest order, far more potent than wine.
The first music I bought when I was nine or 10 was pop music from the '50s and '60s, like The Everly Bros., Elvis, Del Shannon, The Flamingos, The Platters, whatever I could get my hands on. And then some musical things, like Camelot, Singing in the Rain and Hair.
There was a time when hip-hop was its own musical principle, aside from sampling. Like the entire Wild Style break is instrumental. Kurtis Blow's earliest stuff was studio musicians playing. Whodini had a real clear sound, things like "five minutes of funk," stuff that you could write really beautiful, lush string and horn arrangements around, stuff that was just music.
I like digging around. I'm a real magpie. I used to raid the old music shops in the early '50s in Paris and Brussels. You could pick up some incredible and often valuable music for almost nothing back then.
There was so much great music around in the 60s, stuff like The Small Faces, but I also love The Jam.
There was so much great music around in the '60s, stuff like The Small Faces, but I also love The Jam.
The claims I'm making for art are simply the claims that we naturally make around music or around poetry. We're much more relaxed around those art forms. We're willing to ask, 'How could this find a place in my heart?'
I grew up in the church, with traditional hymns, but at the same time I was beginning to listen to pop music, the mid-60s, The Beatles, which had just as much influence on me as those hymns did. Then the hippy stuff like Pink Floyd started to raise questions about how I lived my life and the world in which I lived.
I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.
Since the traditional recorded-music business models have drastically changed, there is truly diminished income derived from recorded music by artists - both current and catalog. The touring industry has become much more important as a majority revenue stream and the ancillary fan experiences and promotions that may be derived from it.
I never really made much money playing music. It's because I've never really worked with a producer who could make my music sound, I guess, like how the public wants it to sound.
Three 6 Mafia have been around for a long time; we've made a lot of music. Anybody's music can influence anybody. I've heard people say that our music has influenced such and such, and it could be true, and it could not.
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