Top 1200 Old Music Quotes & Sayings - Page 2

I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream; it strengthens my creativity.

I started hitching about the country when I was 16 or 17 years old. I found the music that was played around the country - Irish music - had a particular resonance.

You have to enjoy playing. The old-timers did, and that's one reason why their music is a lasting music. I feel that I play jazz to entertain the listener, and you just can't do that unless you yourself are entertained at the same time.

Sheet music, recording, radio, television, cassettes, CD burners, and file sharing have all invalidated, to some extent, the old model of making a living making music.

I've looked at pictures that my mom has of me, from when I was four years old at the turntable. I'm there, reaching up to play the records. I feel like I was bred to do what I do. I've been into music, and listening to music and critiquing it, my whole life.

I still come out to music that's in Spanish. There's no denying who I am, but I've just made it to where my performance is so anybody can understand it - whether you're 10 years old or 80 years old.

I try to sing whatever the music makes me feel. And we play so much music from the other records at shows that I hope no one will miss the old style too much.

Music is my life. Music runs through my veins. Music inspires me. Music is a part of me. Music is all around us. Music soothes me. Music gives me hope when I lose faith. Music comforts me. Music is my refuge.

I just remember falling in love with the old Chris Brown music, where it was, like, that real R&B, and I love the radio smashes he's put out since then, but I go back to his older music for that R&B.

When I was 4 years old my mother put me into an early music education school. That's where they taught you perfect pitch and harmony and how to write music and all that. At that time, one of the homeworks was to listen to all the sounds and the noise of a day and transfer that into musical notes.

I'm definitely not a laptop/midi/abelton guy. But there is a lot of music I like. I really like Bach organ music. I really like Chopin piano music. I really like Wendy Carlo's electronic music. I really like Miles Davis and John Mclaughlin jazz style. So I'm not only an old-school rocker, but I have to admit that I'm going to be listening to The Doors, Rolling Stones, Iggy Pop, David Bowie and Bob Dylan many times a week.

I like for it to be mountain music or old-time country music or traditional bluegrass. Either one will fit me. It's traditional, basically.

Situation comedies are old-fashioned - they stick to formulas. I resent their music which is old fashioned. I resent the use of a laugh track.

My music is how I feel, and that's changed from being twenty years old to being forty-three years old.

I used to imagine that making it in music - really making it in music - is if you're an old man going by a schoolyard and you hear children singing your songs, playing jump-rope, or on the swings. That's the ultimate. You're in the culture.

When you listen to old-school music, you can smell your mother's food in the kitchen. You can feel where you was when you first heard that song. That's what's beautiful about music. It's for everyone, but we all have individual memories that make us love it.

The music I like best is kind of frozen in my mind from the Sixties and Seventies. I still listen to the same jazz music I listened to when I was eighteen years old, and like and admire it just as much.

I'm so jealous of my friends who came from these super musical households where they were learning piano at three years old. My parents didn't really play loads of music around the house. We had the radio, but they weren't teaching me about music.

I got into music around the age of eight years old, and I think the reason why was because I discovered the Spice Girls. I fell in love with them, and it was the first time I ever felt like the music was just directed to me.

I don't really like club music or hip hop or electronic music at all. I'm like an old person.

I grew up listening to a lot of player-piano music in my house and a lot of old Tin Pan Alley songs and American standards. My dad listened to a lot of traditional Irish music and I grew up doing musical theater. So most of the music I was exposed to as a kid was pre-rock n' roll.

I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.

I like that old style of country music - it seems to me that a lot of the modern country music is rehashed rock n' roll.

For me, I like old-school rap music. There was a time when music was so, so rich overall, and the content of what people talked about was so deep on every level, song-for-song, pound-for-pound, and on radio, there was so much content. I gravitate more towards that type of music, to be honest.

Music is thousands and thousands of years old and I don't think that basic, primitive connection to the language of music ever changes.

Other [artists'] music is really what you get most inspiration from, whether consciously or subconsciously. I like a lot of old music and a lot of soul music. I also really like a lot of new stuff.

I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream, it strengthens my creativity.

Folk music - and what people are now perceiving as being folk music - is music that's quite close to the ground. The songs sound quite old, even if they're new. They sound like they've been sung by different people for years.

I'm sort of a traditionalist usually. I love old soul music and The Beatles; I realized I was sort of trying to make music sometimes that fit into an era that's gone.

I grew up loving Etta James and Aretha Franklin and Al Green and Otis Redding, and I just love old-school R&B. It's just music that moves you and grooves you, and it was very important, I think, for music.

I started dating JD Samson from Le Tigre, and suddenly I was listening to more up-tempo music and old dance music, like ESG and Gang of Four, and I thought, 'Wow. This is fun.'

When I signed that major-label contract when I was 20 years old. I did it because I wanted to play music for the rest of my life. That's every 20-year-old's dream - to do whatever the hell you want.

Nowadays, there are seven music directors in one film. I had never heard of such a thing before. If one of our old music directors was told to share a score with others, he would have left the assignment.

I studied music at school and played the recorder. Later in life music was a great way of supplementing my income because I was paid really badly as a young chef. Luckily an old friend - we did music at school together - and I formed a duo, The Calypso Beat, which later became the Calypso Twins.

When I was fifteen years old, the only distinction in music my friends and I made was [that] there's music made by people with short hair and music made by people with long hair.

Dirty martinis and music - that's the big motto in our family. We get the booze going, and the music starts playing. Always old-school hip-hop. Jay-Z. Tribe Called Quest. The Pharcyde. My parents love that stuff.

Tame Impala's music revisits a time when guitar effects and studio tricks were music's newest frontiers; when rock was barely old enough to drive and violently threw conventional ideas out the window.

When that much time goes by, you're really listening to your old music differently. At the time it's written, it was the beginning of our career and with every song we're thinking, 'This is what's creating us.' Now, nothing is creating us. We're well-created. We're there. It becomes just pure pleasure and you become sort of an archeologist of your own music. You don't judge it, because what's the point? It's a 30-year-old song. It just becomes fun.

I love soundtracks to movies and am always touched by the music if it's good. The music in some old Disney movies, like 'Pinocchio,' 'Alice in Wonderland' and 'Peter Pan' really gets to me.

The joy is actually in the music. It's the music that supports you and tells you what to do. It tells you how to fill the music. You don't have to be shy about feeling the music when you're singing. If you believe in music-the power of music-the music will support you and take you to another dimension.

Music doesn't really require whether the person's a young person or old person for whatever kind of music it is.

My mom, she got taken away from me when I was 14 years old. She is incarcerated. My sister was incarcerated. I was homeless. When my mom went away when I was 14... I was forced to live with my aunt. My aunt, she doesn't like rap music. She thinks rap music is the devil's music. Basically she said, "Yo, if you are going to do music you can't do it in my house."

I like digging around. I'm a real magpie. I used to raid the old music shops in the early '50s in Paris and Brussels. You could pick up some incredible and often valuable music for almost nothing back then.

I think whatever we've done as a band at The Clientele, we've done because it's so natural. Our "old" sound isn't really like any actual bands from old times. We take elements of past music styles and past sounds as a way to... this is going to sound very pretentious and perhaps overly thought-out, but as a way to strike chords of vague nostalgia, and strike chords of, "I've heard this before somewhere." That's what a lot of our music is about in terms of the words and ideas behind it, so we really use old sounds as a way to serve that agenda.

I prefer music but sometimes if there's on talk radio - someone might be on that I like. I listen to the old - to "Air America," down at the - liberal talk shows and things like that I find kind of nice, their criticizing the conservatives. I find that quite relaxing, entertaining, but music, a lot of music.

Very old music is, like, 11th century in my mind. That's very old.

I have the ability to go back to the old days with the boys and remember what it was like playing music. I have that real connection to the feeling of playing music as a young man. I do. I can almost touch it.

The music before the game, they're playing old-school music and it's right above your locker room and you're like, 'These people are crazy, man. This is pretty cool.' I'm sure it has an effect, but after a few minutes, it's just basketball.

I have a wide range of influences - I mean, first of all, I am a big, big fan of old soul music. Then, there's people like Donny Hathaway, Elton John... a diverse array of music.

When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.

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.

Because people really got tired, too, of the same old formatted sort of thing, and the same old formatted music.

To me, the noise of a threshing machine is better music than a lot of music I hear nowadays. I took a man's place in the threshing crew when I was only 14 years old.

I'm not really into alternative country - I'm into Patsy Cline, who lived down the street from where I lived, and old Dolly Parton records, Kitty Wells and that old stuff. I like country music. I also like Eric Church, who has a great new sound but also holds onto that old sound.

In the United States, many people said you can't have folk music in the United States because you don't have any peasant class. But the funny thing was, there were literally thousands, tens of thousands, hundreds of thousands of people who loved old time fiddling, ballads, banjo tunes, blues played on the guitar, spirituals and gospel hymns. These songs and music didn't fit into any neat category of art music nor popular music nor jazz. So gradually they said well let's call it folk music.

Some producers hang-on to that old cliche that if the audience hears the music, it is no good. I say this is so much talk. Music gives the film another dimension, if it's done with the story in mind.

I've been in contact with music since I was four or five years old through my father, because of the interest he had in music and all his musical skills. I finally managed to make that my profession.

Country music has been empowering to women. Women invented it - it was women singing to their children that built country music. The people making country music today might not even know that it all started with a midwife. But it's true, it really did. That's where Michael learned to shake it the way he did. It wasn't from old Papa Jackson, I'll tell you that.

Since I was two years old, all I knew was gospel music. That music became such a part of my life it was as natural as dancing. A way to escape from the problems. And my way of release.

That's what I love about those old movies - the music is like a constant companion. Even in scenes that aren't particularly dramatic, like a woman checking her watch, you hear the music as a comment on that action.