A Quote by Steve Winwood

The music I write, I feel, is not the kind of music for a 25-year-old. — © Steve Winwood
The music I write, I feel, is not the kind of music for a 25-year-old.

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I started to write a lot of ballads that were sultry and had a Norah Jones-for-country kind of feel. I wanted to bring elements of old soul music and old country music.
I love making music. I feel like people often get into that 'you should only make music for yourself' kind of place, where they say things like, "I don't write for other people, I write for myself," and I feel like that misses the mark so much because music, especially pop music, is so much more than yourself.
I want to write for people that are trying to do some kind of quality music. What I mean by quality music is not so much the trend, what is hot right now. I don't write trendy, I write what feels good and something that feels good will never get old. Timeless music is what I try to shoot for.
I went to college for, like, a year and a half with the intention of doing some kind of art therapy or some kind of teaching of art, because I feel like art is a more free area in school than music is. I feel like music is too mathematic for me. Music school's so hard. It's math.
Music is my passion so I feel like I'll be doing this for a long time and God forbid if anything happens I'll still write music. So, I could write music for other people. I see myself making music for a very long time.
The gut-feel of the 55-year old trader is more important than the mathematical elegance of the 25-year old genius.
I'm kind of lucky in the fact that I can take something that's in my head and write it down, or I can listen to a piece of music that somebody else has written and try to tap into what the music's saying and just kind of follow that, you know. I mean, nine times out of 10, I'm just kind of following where the music takes me.
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
As a 25-year-old banker, I decided to leave my career and change the world. This sounds like a move that a 25-year-old banker might make today - to escape the chaos.
I actually can't listen to music and write poetry at the same time, but I do kind of think about the music I've been listening to when I write.
There was this kind of dictatorship of the Darmstadt school, composers like Boulez and Stockhausen, who were very strict and orthodox. They would not allow other composers to write the music they wanted to write, and only a certain kind of music could be played.
I just wanted people to hear the sounds and fall in love and not overthink it. You get a 12-year-old and you'll get a 55-year-old standing next to each other in the audience. They're from different eras of music but they'll feel the same way.
Sometimes you believe that you are targeting a 25-35-year-old young woman and you see that there is a crowd of 78-year-old people who are coming to buy some underwear, so it's not exactly the same kind of underwear that you have to sell.
I listen to lots of music, especially Bach, opera (all periods), German lieder, chamber music, and rock, old and new. I can't listen to music while I write. It's too absorbing.
What I do remember is visualization of the sound of music, seeing bodies in movement in relation to how music sounded, because my mother practiced at the keyboard a lot and I also went to her lessons. As a two year old, three year old I remember seeing things in movement.
Now my music is kind of pop-rock, right? If I'm 25 and singing still, I don't want to be singing music like that.
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