Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
You see, I read reviews of people like Paul Simon, and they don't talk about the fact that he's looking old or whether he is fashionable; they talk about the music, which is how it should be.
With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.
When I'm on tour, I'm in a new city every single night, and the energy and the crowds and the kids and the screaming and them knowing every single word of my music and being onstage is such an energetic feeling with a big payoff.
I like the country, the peace and quiet, because the music business is so hectic.
I don't listen to so much music now. I did when I was younger. Music is so much part of my work. I like peace and quiet now when I go home.
IU and I hosted a music program together, and she had told me that she would be writing a song for me. My fans call me 'Peach,' so when her new song came out, I called to ask her about it, and she confirmed that the song was for me.
I remember when I discovered The Beatles with music and The Beatles peaked before I was born and when I discovered them I felt really special.
Some bands I'm obsessed with but I get sick of listening to their music after a while, but that hasn't happened with Twin Peaks.
I'm not going to say I'm not a fan, but I'm a fan of house music, essentially, and kind of indie, and I was always into the kind of sub-pop Seattle Mud Honey and Pearl Jam kind of sound. But my kind of big love was house music ever since I was 15/16, going to raves when I was 15 or 16 years old and not going to school, like a naughty boy.
After Mad Season, I started writing my own music for Pearl Jam and brought it in. 'Given To Fly' came out of that, and so did 'Faithful' - those were on 'Yield,' which came after Mad Season.
In the early days of Pearl Jam, we were caught up in such a whirlwind that I was just trying to keep my head on straight and play music. I didn't have the kind of confidence that other guys in the band did.
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
Well, I think it's kind of interesting how the Osmond name has been really seen on both sides of the pendulum. There's obviously the bubblegum side, but for people who really know about music, it's clear on the other side. As a matter of fact, I find it quite ironic that Metallica used to cover 'Crazy Horses.' It was a cutting-edge album.
If the lecture is good, then everything is too smooth. That's the same in music: if the performance is too good, you really don't enjoy it, because it just goes by, and you can never penetrate into the heart of it. Sometimes a poor performance is better for enjoyment, because you can look at those things that were wrong and analyze them.
The William Penn Hotel in Pittsburgh... was the place where Champagne Music was born.
I used to work at a punk venue in Pennsylvania because I wanted to be near music.
As the times change, people change, and so do their tastes, so I try to understand what the public wants, what they require. I have tried to make the music a bit easier for them to understand.
It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials.
I'm a people person, very approachable. I go out every night, tons of functions. I love all facets of this industry... Music, film, TV, books, art. I love being around creative people.
