A Quote by Ricky Skaggs
I just remember standing there, singing with the headphones on and the strings playing, just how wonderful that felt. But we so rarely got to go out and do it. Obviously, we don't carry a 70-80-piece orchestra with us when we do shows.
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The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
I remember what it was like to be doing 'Lost' and how creatively immersive it was. I just couldn't really engage on anything else, other than 'Lost;' I was just thinking about it all the time, and then there was just the pure workload, the 70- or 80-hour weeks.
I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.
I would love to do much more singing; it's just one of those things where I can't quite describe what it feels like when you're standing in front of a forty piece orchestra, and there's nothing between you and an audience but a microphone. It's like strapping yourself to a locomotive, and I love it.
My first couple shows, I figured I should be playing the guitar and singing. That felt weird, but I got good at it pretty quick, and I learned my songs and how to play them.
I remember doing my first coaching sessions at Macclesfield, when I was still playing, and I was just terrible. I felt really uncomfortable standing in front of people, and it felt very odd. It was not something I was naturally comfortable with at all.
You've just got to keep playing hard. You have to remember that you are not just playing for the Twins. There are other teams out there. If anybody needs a shortstop they are going to come knocking on the door. So, you just have to be ready at all times.
When you are playing great, it's wonderful. Because you and your partner just want to go out and go (rubbing hands together) 'Who we got?' and off you go. But when you're playing badly, or your trust is dented, or your self-belief is gone, it's the worst (freaking) week in the world!
In actor's career, I had a fair amount of denial, which I think is possibly in the genes, where I just couldn't go to, "Maybe this won't work out." I just couldn't do it. My mind just refused to go there. I don't mean there weren't low periods. There were plenty. But I remember arriving in New York and I was maybe 32, and I didn't have an agent. I came from Chicago, where I had gone to school and worked and got my sea legs, so to speak, and I remember walking out of the subway, walking the streets, standing in front of the theater and saying, "I will work in this theater."
I'd always loved strings. When I was in high school and saw strings playing on stage, an orchestra or a symphony, all those bows moving at the same time... wow.
It's something I'd find rather distracting in a historical piece, looking at characters that have obviously just gotten off their Ab Blaster. You see a piece set in the 1300s or the 1800s, and you've got characters who have perfect abs and are incredibly well-groomed, not a hair out of place, and it just doesn't make sense.
Every day, my mom and I would watch a different Judy Garland VHS. I love how she tells a story when she sings. It was just about her voice and the words she was singing - no strings attached or silly hair or costumes, just a woman singing her heart out. I feel like that doesn't happen that much anymore.
The world is a thing of utter inordinate complexity and richness and strangeness that is absolutely awesome. I mean the idea that such complexity can arise not only out of such simplicity, but probably absolutely out of nothing, is the most fabulous extraordinary idea. And once you get some kind of inkling of how that might have happened ' it's just wonderful. And . . . the opportunity to spend 70 or 80 years of your life in such a universe is time well spent as far as I am concerned.
I don't want to get into being too hockey centered, but I just felt like the late 70's and 80's into the 90's was the right time period to tell the story.
Those type of people [in New Orleans] keep me happy and just smiling, you know? I just go hang out and talk with them and they tell me all types of old stories, and sometimes I might even pull my horn out in the middle of the block, and they're playing on beer bottles and different things, and we just do a little second line type thing, just us, four or five people, who are just having fun. That makes me day to be able to do that and go hang out with the people in the (Treme) neighborhood, and to do some shows around town, you know?
I always felt that I would become somebody outstanding, whether it was in singing, instrumental playing, orchestra conducting, or anything involving feeling.
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