A Quote by Tre Cool
Music has never been at a better time then it is right now, we're really lucky to be a part of this wonderful thing called music.
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The thing I stress to my fans is that I've been making big, universally friendly-type music for a long time now. I never really made underground music.
I haven't really auditioned much in my career. I've been lucky in terms of the feature work; it's mostly been people that have been fans of mine that have called and said "We have this part, do you want to do it?" That kind of thing. And that's sort of still the way it is right now - I don't really go after features too much.
I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.
I am devoting some time to music. I'm finding a balance in my life right now so that when I'm not acting I'm really working on the music side of things... producing and writing and recording and also getting to do some live shows. It's a really exciting thing.
If I ever really felt depressed, I would just start putting on all my old records that I played as a kid, because the whole thing that really lifted me then still lifted me during those other times. It was good medicine for me, and it still does that for me when I put something on. Isn't it wonderful that we've got all that good medicine? I think it's got to be all part of our DNA, this mass communication through music. That's what it is. It's got to be, hasn't it? Music is the one thing that has been consistently there for me. It hasn't let me down.
If you listen to soul music, or R&B music, or Blues music, a lot of that came from church music and spiritual music, and music has always been a really really powerful tool that people have used to get them closer to God - whatever they define God as. And for me that's always been part of what drew me to it and keeps me coming back for more.
I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.
I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
Big band music, to me, it really has three key elements. First is the lyrics are really sweet, and they're just really family-friendly. The second thing is the music is jazz music, so the music is complicated enough to hold your attention for 5 or 6 million plays. That makes the songs interesting. The last part is the fact that it's danceable.
I decided to not be so dismissive of my music in favor of my acting. Acting has been such a consistent thing for me; a lot of times in the past, I wouldn't have had the confidence with my music to really make it a part of my schedule. I would easily push it to the side, or I would easily take up time that was needed for it. I'm not that way anymore. Now, I really want to make everything work. I want to continue to do both at the highest level that I can.
I take music really seriously. I haven't been doing this for too long, but I've been loving music for a long time. It wasn't really about other artists. I just wanted to do something more for me. I wanted to make a better life for my mom. I didn't have any way to take care of her, and I wanted to make a better way. Music was an outlet, so I went with it, and there you go.
The mountain music... is compelling music in its own right, harking back to a time when music was a part of everyday life and not something performed by celebrities.
The weird thing is that 'Maestro' has somehow improved my DJing. When you've been in this music as long as I've been, you can sometimes become jaded. And when I got back from 'Maestro,' I realised the music is being kept in time for me - all I have to do is to wrap as much dynamic around it as I can. DJs don't realise how lucky we are.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
There's a point where you think, 'What else will I do if I don't do music?' It becomes your identity when it never should have been. But food ignited a fire in me, and I came right back to music because it no longer felt like a job. It was a really powerful thing for me.
Country music is still your grandpa's music, but it's also your daughter's music. It's getting bigger and better all the time and I'm glad to be a part of it.
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