A Quote by Tori Amos
I like involved projects. I'm driven by the idea of characters and the song-cycle form is similar to a musical.
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I'm driven by the idea of characters and the song-cycle form is similar to a musical.
There's been lots of theater that uses hip-hop in it, but more often than not, it's used as a joke - isn't it hilarious that these characters are rapping. I treat it as a musical form, and a musical form that allows you to pack in a ton of lyric.
The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
I'm very driven, and I always have been. So I'd like to release a successful album, continue in musical theatre, and be more involved in business.
It seems to me that the American popular song, growing out of American folk music, is the basis of the American musical theater… it is quite legitimate to use the form of the popular song and gradually fill it out with new musical content.
What actors are involved in is a similar sort of psychological forensic examination of the characters they're playing. You try to have an idea about why somebody does what they do and you try not to be in judgmental about it. That is what psychologists and psychotherapists aim to do with their patients.
I really think that the Jersey Boys musical - and this is just my opinion - lends itself to being cinematic in some way, because its a jukebox musical; the characters break into song only for the scene transitions.
I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.
I knew I wanted to make a concept record in song-cycle form, like my favorite Marvin Gaye records where everything just continuously flows.
At one point, some years ago, a nice gentleman had it in mind to do 'Outlander' the musical. His idea was to start with a CD of what you call a song cycle, with a dozen high points of the projected show. It turned out very well, though we had to stop doing it when the TV show came along.
But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.
I would like to do a musical, if I could find a cool one. A song-and-dance role is closer to me personally than other characters I play.
I certainly have a fascination with pop music as a musical form, not necessarily as a lifelong commitment. I guess you could say I'm like a Casanova of music. I can't seem to settle down with one musical form.
Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.
All of the musical projects that I am involved with are near and dear to my heart and allow me in a small way to make a contribution to the world of music.
On past records I usually did start with a story or an idea for a song and then write around it, but on Achilles' Heel I would just start writing and try to let the song and my sub-conscience determine the direction. which is a goofy way of saying I tried not to decide before hand what the song and or the characters would do and be like.
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