Top 1200 Old Time Music Quotes & Sayings - Page 16

My parents didn't allow rock music in the house. I actually didn't even know it existed until I was probably eleven years old.

One of the things you learn in football is that you're only as good as your last outing. I don't like to reflect on what we've done in the past. I'm not a very good storyteller, for one thing. I'd disappoint you. When it's time, I'll talk about the good old days. But it's a sign of old age, reveling in the past.

You never know that this is the moment when you're in the moment. When I was sixteen I moved to a smaller town in Vermont, and at that time I didn't have a band to play in. So I was forced to play in Top 40 bands and fraternity bands and wedding bands. That was all pop music, but I was listening to Weather Report and classical music. Then I went to Berklee College of Music in 1978, and you had Victor Bailey there, and Steve Vai. And suddenly I was among my ilk.

The whole time I was on 'Grey's,' I'm still reconciling myself to my 11-year-old son, because he never saw me during that time. By the time he got up, he'd see a dent in his pillow, but by the time I got home, he was already asleep. So for three years, he had a daddy that he never saw because I had to work.

I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.

I grew up on Bach and Beethoven and now I'm listening to more modern composers who I can't even name. But since I'm constantly doing music, it's difficult to have that quality time to listen to music and do classical stuff. That's the only reason I'm thinking of going on.

I'm excited about the old songs. That's a nice place to be after grinding out the music business for twenty years.

In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.

Old age is not a time of life. It is a condition of the body. It is not time that ages the body, it is abuse that does.

I'm very concerned with the healing process of a song and music in general. I think that's why I make music - it heals me and I'm extremely sensitive to people who tell me that this or that song made them feel better or helped them go through a difficult time in their life. I think that music is almost medicine. I don't know if that's my philosophy, but that's my thought process.

I think for me, the only depressing music is music that doesn't give credence to those kinds of feelings, music that's just written for money or commercial reasons. Sad music can be the most uplifting thing in the world.

I lived in a cabin in the woods in Oregon, and I'd basically given up on the music industry for an indefinite amount of time. And while I was out there, I came up with a very specific vision of what I wanted my music to sound like.

As one grows older, the sense of separateness is slowly reduced. Old people do not live on an ego level. Their concerns are not about their individuality but about the river of life, the family, the community, the nation, people, animals, nature, life. They can die easily if they are assured that life will continue positively, for they feel part of the river again, and soon they will be part of the ocean. When they are very old, they no longer belong to our time and space, but to all time and all space.

A lot of time, if you spend too much time in Nashville, songwriters get caught up in charts and numbers and the music business politics.

A movie's a movie - you know I'm a massive old film buff - but it's still something to me, music: I can still close my eyes like I was when I was a teenager, and it can still make me weep or make me angry or make me, even if it's bad music, crack up.

I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.

Bruce Sutter has been around for a while and he's pretty old. He's thirty-five years old, that will give you some idea of how old he is.

I have a very difficult time describing my music. Because I run into people in the hardware store and they go, 'Oh, you're a musician. So what kind of music do you play?' And I go, 'Uh, I've been doin' this for many years - I don't know what to call it.'

I used to listen to a lot of music in my studio - all the time. But as far as the music that interplays with my work, what I've done and still do is keep a lyric book and song title. The material typically comes from Eartha Kitt, Betty Davis, Donna Summer, Whitney Houston.

There was this old soccer game called 'Goal' for the old Nintendo, and ever since then, I've played everything from the old school games to the 360.

My music is quite diverse, but it blends Grime, Hip-Hop, Old Skool and other urban genres together.

I love vocal music, but I've had a hard time understanding myself through the English language. So it just seemed to me that if I relied solely on creating a voice out of the music, then I might be able to reach something more profound.

It sounds kind of cliche, and a lot of people say it about our music, but I think a good place to hear our music for the first time is on vacation, or somewhere warm, on the beach or something like that.

My father was a very popular singer and stage actor during his time, in the 1950s. But he didn't take any formal lessons in music, which was probably why he insisted I study music so I could get a proper base and build a strong career in it.

I think I have music in me! I had a scholarship to study singing at one point, and I've never really done anything about it. I've done some music on stage, but it's been a long time. It would be kind of fun.

I went to see 'Phantom of the Opera' with my grandma and my mom when I was very little. The stage, the voice, the music?... Composer Andrew Lloyd Webber has been a massive inspiration to me for some time - the storytelling, that deliciously somber undertone in his music.

I got into music because my Dad used to tell everyone I had the voice of an angel when I was two-years-old.

I too have sworn heedlessly and all the time, I have had this most repulsive and death-dealing habit. I'm telling your graces; from the moment I began to serve God , and saw what evil there is in forswearing oneself, I grew very afraid indeed, and out of fear I applied the brakes to this old, old, habit.

As kids, we say stupid things, and because there's not a record of it, nobody is going to give you a hard time at 30 years old about something you said or did when you were 8 years old. Online, you have all these social networks that are moving to a state of persistent identity, and in turn, we're sacrificing the ability to be youthful.

For me, as someone growing up in a working-class suburb in Stockholm, I couldn't afford all the music. So back in '98, '99, I was really thinking about how I could get all the music and do it in a legal way while at the same time compensating the artist.

I've become this voice for a millennial generation of feminism, which is awesome, but at the same time it's complicated. We all know I'm a girl, I'm a woman, but it's difficult to figure out how to talk about it and express how important it is without beating it with a hammer and having it be, "So you're a girl in music! So you're a girl in music!" Yes, I'm a girl in music - can we just talk about something else?

There are many things worth telling that are not quite narrative. And eternity itself possesses no beginning, middle or end. Fossils, arrowheads, castle ruins, empty crosses: from the Parthenon to the Bo Tree to a grown man's or woman's old stuffed bear, what moves us about many objects is not what remains but what has vanished. There comes a time, thanks to rivers, when a few beautiful old teeth are all that remain of the two-hundred-foot spires of life we call trees. There comes a river, whose current is time, that does a similar sculpting in the mind.

There are three classes into which all the women past seventy that ever I knew were to be divided: 1. That dear old soul; 2. That old woman; 3. That old witch.

There's the old saying that doing the same thing over and over again and expecting different results is the definition of insanity. There are few better places to apply that adage than the drug war. It's time to end it. It's time to restore peace and harmony to Latin America and the United States. It's time to end the failed war on drugs. It's time to legalize drugs.

One of the most brilliant parts of being a first-time founder is that you experience everything for the first time. It never gets old.

I've got a very short attention span, and this has been part of the reason I'm so kind of dumbfounded at the fact that I've still stayed with music. Nothing has ever stuck for me, and music's the only thing that's managed to stick out for a long period of time.

Lata Mangeshkar is an old friend. I knew her through my father Aparesh Lahiri who was a music director in Calcutta.

Unfortunately most ways of making big money take a long time. By the time one has made the money one is too old to enjoy it.

I'd always loved poetry and I'd always loved writing music and composing music, but I hadn't thought of putting the two together until around that time.

I don't do black music. I don't do white music. I do fight music, unified in Christ music.

I feel like I've spent the majority of my time touring and traveling, so if I reduced the actual time making music, it's probably four and a half years at the most.

With Moloko, we tried to be the opposite of what was out there at the time. I like to be different. In the mid-Nineties, music was quite dour and serious, and everything was dressed down. So we went the other way. Our first record was about not wanting to do four-to-the-floor dance music.

With music, I wasn't curious anymore. There was no dialogue. By the time I stopped, I knew it wasn't going to be gone forever, but it just wasn't the right time for me to care about that.

I went to see 'Phantom of the Opera' with my grandma and my mom when I was very little. The stage, the voice, the music... Composer Andrew Lloyd Webber has been a massive inspiration to me for some time - the storytelling, that deliciously somber undertone in his music.

That was my intention, was to have it be from the perspective of my high-school-aged self, and to try and emulate the music that I listened to at that time. So to write essentially like a pop-punk song about musicals. I wanted the dichotomy of the tone of the music with the lyrics and my singing voice.

I definitely appreciated '60s music. My uncle and I used to take long road trips to visit my grandmother when I was going to NYU. We'd listen to Petula Clark and other 60's music and sing at the top of our lungs the whole time.

I'll start with where we are right now. The map that I'll use is this birthing process, this kind of profound transition that we're going through, where the old narratives, the old story, the old mythology is wearing thin, beginning to fall apart. And as it does so, people hold on to it even more tightly. They haven't let go and won't let go until it becomes simply impossible to hold on to it anymore. And we're nearing that time, but not yet. Right now you can still pretend everything's normal, even though it's greatly hollowed out.

Bruce Sutter has been around for awhile and he's pretty old. He's thirty-five years old. That will give you some idea of how old he is.

I love being a part of country music. I love going out and... doing things for the first time for country music. I always enjoy that.

I believe that the greatest music is storytelling anyway, in a heightened medium. So I write a lot of music, and I play a lot with my guitar, I still sing a lot, but now I'm more personal about it than public, in a way. I think there will be a time where I'd like to bring the singing back into some of my performances. It all depends if the material's right, if the story's right, if it's my kind of taste in music, as well. It means so much to me. We all know how affective music can be, I just want to make sure when I do it, I'm doing it because I actually feel it and I care about it.

I've learned how much of an impact that music has on people. I get messages all the time from people telling me what my music means to them and what it has done to them.

I turned 30 as a janitor. I was thinking at the time that Hank Williams died when he was 29. All my peers were at least 10 years younger than I was. I felt like an old has-been at the time.

I came into this music business at 26 years old. I was a fully developed man at that point. At that age, I didn't have anything to prove.

It never seemed fair that just when you're old enough to do anything you want, you can't. You have to start working, so there's no time. And if there is time, you're not working, so there's no money.

We are passionate about making it so that users enjoy the music that they want to enjoy but at the same time fairly compensates artists. That's not the same as saving the music industry.

I someday hope to find the time and coin to invest more of my creative energy towards the visual media side of releasing music. I'd love to make short film videos pushing the conventional standards of what a country music video can be.

In my free time, I read a lot, watch shows, listen to music, cook, write short stories and spend time with my grandchildren.

Making music is so much more self-motivated. It's my own music. It's my own time. I don't have a team around me that's helped me make everything.

I play only classical music. My pianos are my only big indulgence, but they're a necessity. When I'm playing the piano is literally the only time I can be completely abstract and disconnected from the regular world and yet be connected - to my music.

I haven't really ever seen a big budget Hollywood film with African music. Most of the time, it's just Hollywood's perception of what African music is.