A Quote by Heinrich Heine

At Dresden on the Elbe, that handsome city, Where straw hats, verses, and cigars are made, They've built (it well may make us feel afraid,) A music club and music warehouse pretty.
He could wear hats. He could wear an assortment of hats of different shapes and styles. Boater hats, cowboy hats, bowler hats. The list went on. Pork-pie hats, bucket hats, trillbies and panamas. Top hats, straw hats, trapper hats. Wide brim narrow brim, stingy brim. He could wear a fez. Fezzes were cool. Hadn't someone once said that fezzes were cool? He was pretty aur ether had. And they were. They were cool.
It is madness to wear ladies' straw hats and velvet hats to church; we should all be wearing crash helmets. Ushers should issue life preservers and signal flares; they should lash us to our pews. For the sleeping God may wake someday and take offense, or the waking God may draw us out to where we can never return.
For me, the music that resonates the most is one with a vision. I think that's what separates artists from entertainers. There are a lot of DJs and producers that make entertaining tracks that are effective in the club. They may make you feel nostalgic, or they may make you feel happy, or anxious or whatever - that can be entertaining, useful, and functional but there could be no vision.
You know, for most of its life bluegrass has had this stigma of being all straw hats and hay bales and not necessarily the most sophisticated form of music. Yet you can't help responding to its honesty. It's music that finds its way deep into your soul because it's strings vibrating against wood and nothing else.
I've been working to define my individual style and vision and I believe it is reflected in the music. I feel better mentally, physically and spiritually so I've brought that to the music. I still make love songs so there are some messages in the music about men appreciating their women. I'm also still bringing party and club hits but with more substance in the music.
When I play that music live nowadays, there's a lot of things I feel I'd like to do - even things I don't think the audience is aware of, like layering subs underneath the kicks, and layering crisp hats underneath the muddy, trashy hats of the '90s. If I tried to play the music as it was next to my contemporary music, it just sounds like you're closing up half of the sonic spectrum.
L.A. is a big city that has a lot of music in it but is not necessarily known for it. A lot of musicians got lost in that. You can make a living; you can gig a lot within the city and never get out of it. That was something that me and my friends, our generation, were afraid of happening to us.
Not only was Thebes built by the music of an Orpheus; but without the music of some inspired Orpheus was no city ever built, no work that man glories in ever done.
What makes us feel drawn to music is that our whole being is music: our mind and body, the nature in which we live, the nature which has made us, all that is beneath and around us, it is all music.
That’s why I make music. When I listen to my favorite music made by other people, that’s what it does to me. So as a musician, I’m just trying to do the same thing with music I make. Sometimes it works, sometimes it doesn’t. But when someone comes to me and says the music I’ve made has affected them emotionally, that’s the most gratifying part of my job.
I just really want to make - to be cliche about it, I want to make pretty music. Like Roy Orbison or Elvis, man. Those guys made beautiful, tender music.
I'm a born music lover and want to sing for all music composers as well but due to some false impression many makers feel that I prefer to make my own music and sing, though I'm equally comfortable in both.
Christmas music is usually more concentrated pop music in a way. It's meant to make us feel good, and it's meant to make us like we belong somewhere.
The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.
I prefer to learn everything through music. If you want divinity, the music in every human being and their love for music is pretty much it. It's the big indication of their spirituality and their ability to love and make love, or feel pain or joy, and really manifest it, really be real.
Anybody can make hood music or club records, that's not hard. But can you make music that touch people's souls. That's what I was out to do.
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