A Quote by Van Morrison

Once you start to analyze it [Joyous Sound], you've completely lost it. That one just came. — © Van Morrison
Once you start to analyze it [Joyous Sound], you've completely lost it. That one just came.
Joyous Sound evolved from a gospel influence. Actually it evolved out of sitting at a piano and just picking out a riff, a gospel type riff. It just seemed to come joyously-something about the song, about living in another place of joyous sounds. I'm not quite sure-that's one I'm trying to analyze. It just came out.
When you start to analyze [rock 'n' roll], it's only because you don't understand it. You're just not connecting with it once you have to start analyzing it.
Sexual intercourse... a joyous, joyous, joyous, joyous impaling of woman on man's sensual mast.
It can be really weird to say, 'Hey man, let's make a record and start with this horrible zither sound.' But I was obsessed with the idea of taking a sound and completely phenomenologically thrashing it."
You could imagine something like a completely automated system for renting bikes that's just done completely over blockchain crypto-payments. And theoretically just sort of start it up, and it works completely autonomously.
My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'
We toured for close to three years after 'Undertow' came out, so by the time we started to work on 'AEnima,' we had matured as functional musicians, and that changes your sound completely. Once you have that kind of freedom, an idea will come into your head and you can do it justice.
I would like to think that monogamy works: that once you make that vow, that decision in your life to stay committed, you actually get to keep that promise; you get to keep that commitment. I think that once you start to lose that, once you start to wonder, even emotionally - especially emotionally - your relationship is bound to get lost.
I would recommend that any writer get off their ass at least once and just try it. Directing is a completely different set of muscles. It also affects your writing because, once you start directing, you tend to write your scripts with directing in mind.
If spring came but once a century instead of once a year, or burst forth with the sound of an earthquake and not in silence, what wonder and expectation there would be in all the hearts to behold the miraculous change.
I can analyze how I do things, but the actual doing it - when the synapses just start firing - I can't explain.
Staying in the present is the key to any golfer's game: once you start thinking about a shot you just messed up or what you have to do on the next nine to catch somebody, you're lost.
I don't want to sound arrogant and say that I know everything about directing and I've got it cracked, but it was just all in all a joyous experience. To me, the key to directing, to be honest, is just surround yourself with brilliant people and let them do their thing
Once you start painting, you could of course get lost. I mean you get out of yourself, you don't know whether you're thinking, you just act actually sometimes.
I gazed upon the glorious sky And the green mountains round, And thought that when I came to lie At rest within the ground, 'Twere pleasant, that in flowery June When brooks send up a cheerful tune, And groves a joyous sound, The sexton's hand, my grave to make, The rich, green mountain-turf should break.
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
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