Composers From The United States

"Our love is kind of stalled, baby. But it ain't about the sex. I'd trade the roses and the negligees If we could just connect. I go deeper when you look into my eyes. There's a place where neither one of us can hide. And it's up to us to reinvent the game. Love it when you call my name."

"The American black person knows something which nobody else in the world knows. To have been where we were, to have paid the price we have paid, to have survived, and to have shaken up the world the way we have is a rare journey. No one else has made it but us. There is a reason that people are listening to James Brown, Nina Simone, and Aretha Franklin all over the world, and not to somebody from Moscow, Turkey, or England. And the reason is not in our crotch but in our heart, our soul. It's something the world denied and lied about, energy they labeled savage, inferior, and insignificant. But it has been proven that no matter what they labeled it, they cannot do without it."

"Find one person in the audience and sing to them with all of your heart. And then cast a spell over them. Hoss, if you can't do it with feeling — don't."

"You're alright honey. Anyone who'll stand up to "The Cline" is alright. We're going to be good friends."

"Oh, I just sing like I hurt inside."

"When I find out who stole it I'll take blood, ass and all!"

"I don't wanna get rich — just live good."

"Before Dolly, Loretta and Reba, there was Patsy. She was the first female country headliner and one of the first artists in the genre to have crossover pop success, which is basically a pre-requisite in terms of Rock Hall induction. During her prime, Cline was very much on the same level as fellow stars like Johnny Cash and Elvis Presley and is a clear example of the Rock Hall’s need to focus more on women."

"You don't appreciate home until you leave it and, let me tell you, you can't appreciate life till you've almost left it! Some people hope and die with their song still in them. I used to think that happiness resulted when my earnings matched my yearnings! But not anymore!"

"Jerry Goldsmith is an artist who meets all the demands upon the composer in films. He communicates, integrates, subordinates, supports, and designs with discipline."

"Working to timings and synchronizing your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, and a blueprint, and provided the film has been well put together, and well edited, it often suggests its rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us."

"You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account"

"The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted."

"It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. If they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good."

"Originally I was supposed to do Grand Prix, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do Sand Pebbles, but he got sick, so Fox preempted me out of Grand Prix, and to my good fortune, I got to do Sand Pebbles. It was my first time working with Robert Wise and it was a great experience."

"I admit it worked fairly well but my first reaction was to get up and walk away from the job, but I couldn't. Once you've heard music like that with the picture, it makes your own scoring more difficult to arrive at, it clouds your thinking. Later, as an inside joke, I included a snippet of the Strauss in the score-and some critic pounced on me for stealing. You can´t win."

"It’s an incredible technique for what he does. I can’t do it. I can’t smile like him either."

"Eddie’s smile reflects the sheer exuberance bursting from the grooves on the first Van Halen album. [...] Eddie’s licks had soul, even when he was showing off. Then there was the tone. It’s doubtful the electric guitar has ever sounded better. Guitarists have devoted their lives to trying to discover how it was done. [...] The 23-year-old Eddie didn’t just invent 80s rock guitar; he did it in a way that no one would ever surpass. A generation of shredders took his technique to new heights, but no one had the tone or the vibe, and no one else looked like they were having nearly as much fun."

"Like Jimi Hendrix a decade earlier, Van Halen caused guitarists to look at their instruments in an entirely new way, and, arguably, no single guitarist has had such universal impact since."

"In 1978, Edward Van Halen redefined virtuosity on the electric guitar."

"In 1971, a young Eddie witnessed Page’s one-handed solo for Heartbreaker, “took the idea and ran with it”. And then some."

"Eddie could play his borrowed Clapton licks at four times their original speed. But describing EVH’s guitar playing as “fast” undervalues it, like describing the Great Pyramid of Giza as “large”. Not just the best soloist on the planet, Eddie was possibly even better at rhythm – effortlessly grooving, extremely dynamic, and with the best swing in the game. Debates about whether he invented tapping (answer: no) are beside the point. Eddie Van Halen also did not invent harmonics, divebombs, palm muting, legato, or high gain tones, but no one had combined them seamlessly into one coherent guitar style, let alone perfected it on their debut album. [...] Where he hits a wrong note, he styles it out and keeps on wailing. Like the gymnast Simone Biles, no matter what acrobatics happen in the air, he always sticks the landing."

""Eruption" changed everything. Sure, it clocked in at less than two minutes and never came close to being a hit. As presented on the first Van Halen album in 1978, it seemed like an instrumental introduction to "You Really Got Me", the band’s debut single. But it was obvious to anyone who heard the Eddie Van Halen masterpiece that the world of rock guitar had changed dramatically. [...] Before Van Halen, guitar heroes were known mainly for their mastery of the blues and ability to pull a rich, vocal tone from their axes. [...] With Eruption, Eddie Van Halen set new standards on both fronts. He not only ripped through demisemiquavers with a speed and clarity that made McLaughlin seem splay-fingered; his mastery of feedback, tremolo and pinged harmonics made his guitar sound as fluid as a synthesizer."

"[Eddie's solos are] short, concise and brilliantly crafted. They’re not just about speed. He can do a bit of something that’s quite gentle, and then throw in something that just blows you away because of the sheer pace of it for a second—and then he goes back to something else."

"Practice. I used to sit on the edge of my bed with a six-pack of Schlitz Malt talls. My brother would go out at 7pm to party and get laid, and when he'd come back at 3am, I would still be sitting in the same place, playing guitar. I did that for years — I still do that."

"I don't like doing interviews, I don't like doing what I'm doing right now. I'd rather be at home playing my guitar."

"Playing together without having to compromise our sound was a dream come true."

"The incredible speed and consistency of his take on [the tremolo picking] technique has been a source of fascination for 35 years. In Van Halen’s approach, the picking hand hangs suspended in mid-air, with no anchoring or muting at all, and uses a middle-index pick grip to generate positively giant picking movements. It really seems to break all the rules."

"As unpredictable and flamboyant as Hendrix, Van Halen has had an unmeasurable impact on the guitar community. By the mid Eighties, his self-described “brown” sound, over-the-top techniques (including two-handed tapping), and revolutionary trem-bar effects inspired a generation of aspiring guitarists who bought the one-pickup, one-volume-knob, Floyd Rose–equipped Strat-style guitars that Van Halen made famous."

"Time and persistence has shown me that I can succeed at sharing my art with others as a musician while running my own music business. And that kind of success is as good as I could have ever wished for."

"A lot of musicians don’t learn the business. You just have to be well-rounded in both areas. You have to understand publishing. You have to understand how you make money, what’s in demand, what helps you make the most out of your talent."

"Through instrumental music, I’m allowed to come up with musical ideas that allow the listener to create their own impression of my song. If you add lyrics about a girl in the song, the listener doesn’t have a choice of what the song is about, it’s told to them. My musical writings allow me to express anything. It’s easier for me to tell a story of something I’ve encountered this way then to verbalize it. And my feelings are explored more in my compositions compared to what I could ever say in a few sentences."

"All the information you need is available to you to have a successful career in music, if you're paying attention, and not closed off to anything. Remember, Perseverance is King."

"I am a composer first and foremost, and have always believed that being able to write memorable melodies is what sets musicians apart."

"My songs bring images to the listener's mind. The object is to transport my listeners to another place, some place sacred and spiritual that will make them glad they took the ride."

"The piano is always true to me. In times of despair, happiness, and joy, its mood is always my own."

"Basically, I write from a two person standpoint. First, I let the song take hold and I put down the idea as a raw emotional statement. Then I let it breathe and come back, approaching from more of an objective point of view. This allows me to rediscover the true meaning I intended in the beginning, shedding new light on how I can best represent that to the listener."

"Musically I try to connect a common bridge between such exhilarating feelings as performing at the Acropolis, to the emotions each and every one of us feel everyday. In the end, a good melody will always stand the test of time."

"Music allows a person to express their deepest thoughts, thoughts that cannot be expressed with just words. I am often asked how I begin a song or develop a melody from nothing. That is the spiritual aspect of creating. Finding something deep within yourself that can only be created by you."

"When you live in a capitalistic society, the currency of the dissemination of information goes through capitalistic channels. Would Noam Chomsky object to his works being sold at Barnes & Noble? No, because that's where people buy their books. We're not interested in preaching to just the converted. It's great to play abandoned squats run by anarchists, but it's also great to be able to reach people with a revolutionary message, people from Granada Hills to Stuttgart."

"One does not have to be an honours grad in political science from Harvard University to recognise the unethical and inhumane nature of this administration but well, I happen to be an honours grad in political science from Harvard University, so I can confirm that for you"

"It'll start with a spark, and a great fire will grow."

"In my nightmares the streets are aflame, and in my dreams it's much the same."

"Sacrifice and neon lights slave ships don't wait. Love many, trust few, and don't be late"

"Yeah, I support my troopsThey wave black flagsThey wear black masksAll the roads are closedSmoke is rising from the fieldsThe monsters left their cagesAn angel set them free."

"You don't gotta be loud, son, to be heavy as shit!"

"The skin you're in makes choices for you."

"Thought hard about this next linePretty sure it's true.If you take a step towards freedomIt'll take two steps towards you."

"Can you explain to the mothersAnd the fathers of thoseWho come riding home in coffinsIn their military clothes?"

"We just wanna be the happy bums that we are. That's all."