Musicians From The United States

"Ain't no time to hate, barely time to wait. Wo-oh, what I want to know, where does the time go?"

"It's the same story the crow told me, it's the only one he knows. Like the morning sun you come and like the wind you go."

"Well, the first days are the hardest days, don't you worry anymore. When life looks like Easy Street there is danger at your door."

"When I was just a little young boy, Papa said "Son, you'll never get far, I'll tell you the reason if you want to know, 'cause child of mine, there isn't really very far to go.""

"Shall we go, you and I, while we can? Through... the transitive nightfall of diamonds"

"Oh no well I / been there before / and I ain't a comin back around / there no more / no I'm not"

"This album is one of the best albums in the past 20 years. There's nothing that touches this album. And that sounds like I'm being cocky, but I'm just so excited."

"I think both [Killers frontman] Brandon [Flowers] and I are alike because we both use too much hair product and run our mouths way more than our bands like."

"If you have seen them live, they are incredibly boring. You remember what they used to look like? Then people started comparing them to us and suddenly they got a stylist," he said. "And Brandon frosted his hair and he's buying the cute pink jacket."

""The Killers' lead singer doesn't like me, but he can eat it. I think he has some great tunes." ~ John Mayer"

"He is a little genius. He's a deep soul and a spirit man. I think we've only seen the tip of the iceberg [with 2010's Flamingo]."

"I think I always knew that I would have kids but I didn’t… understand… the… whooooo [brims with tears once again]. That I could love my kids the way that I love ‘em. I didn’t know there was… room for that. You love your wife, your family, but it’s different with your kids. I didn’t know I could be so selfless. I would do anything for my kids. Anything. I guess everybody goes through it."

"Barack Obama being elected. I think about how… um… how my sons will grow up only knowing a black President. [Wells with tears] I can’t explain how that’s changed America. There’s an optimism now that wasn’t there for black people."

"It's something that you dream about, but Milli Vanilli got a Grammy. So it's hard to decide whether you're happy or not."

""Now he's just signed Fall Out Boy, which means more of his attention will go to them that should have gone to The Killers"."

"Look at a band like the Bravery. They're signed because we're a band," Flowers said. "I've heard rumors about [members of] that band being in a different kind of band, and how do you defend that? If you say, 'My heart really belongs to what I'm doing now,' but you used to be in a ska band. I can see the Strokes play or Franz Ferdinand play and it's real, and I haven't gotten that from the Bravery. I think people will see through them."

"What song do I hate? I think "Daughters," by John Mayer, would be a good candidate. I don't know why he bugs me so bad.""

"A rental car in Savannah, Georgia. In the middle of touring, we had a week off. I have a problem with flying, so instead of going home, my wife came to me and we rented a car and drove around. Just pulled off on some dirt roads..."

"A squid eating dough in a polyethylene bag is fast and bulbous. Got me?"

"[Beefheart] used to say, "You think you got a hard job, man? I gotta sing to that shit!""

"I've written every drum bit I ever done, every note. I played the drums. I played the guitar. I played the piano. I wanted it exactly the way I wanted. Exactly. Any composer I would think would want it that way, and I don't deviate at all. Don't you think that somebody like Stravinsky, for instance, don't you think that it would have annoyed him if someone bent a note the wrong way?"

"You look dandy in the sky but you don’t scare me Cause I got you here in my eye In this lifetime you got my human gets me blues"

"Pena Her little head clinking Like a barrel of red velvet balls Full past noise Treats filled her eyes Turning them yellow like enamel coated tacks Soft like butter hard not to pour"

"That's right, The Mascara Snake. Fast and bulbous! Also, a tin teardrop!"

"The greatest work of the composer is often sublimation, that is, the deflection of energies, thoughts, occurrences, psychological and physical reactions, into socially constructive or creative channels."

"I know what the power of silence is. When I used to play in clubs, everybody was loud; there was a lot of noise. So I would take my mute off the microphone, and I would play something so soft that you could hardly hear it... and you talk about listening. Roy Eldridge did that. He's one of my favorites."

"Most jazz musicians are happy just to achieve some popularity, but Miles Davis was a genuine icon. Famously fashionable even in his early days – a Davis biography was subtitled ‘The Man in the Green Shirt’ after a particularly stylish album cover – his adoption of jazz-rock in the 1970s and ’80s made him a superstar, bewitching audiences with not just his spare, declamatory trumpet-playing, but also his brooding persona. Dubbed the ‘Prince of Darkness’, he prowled about the stage in extravagantly hip garb, mercurially cueing his heavily amplified ensemble, creating a delicious aura of mystery and occasional menace. Musically, Davis’s foray into fusion divided his fans. Older listeners preferred the Davis of the ’50s and ’60s, whose brilliant bands reinvented and extended the bebop tradition as well as launching such seminal talents as John Coltrane and Herbie Hancock. But change seemed the driving principle of Davis’s artistic and personal life, and embracing rock seemed a necessary progression."

"I don't excuse Miles' conduct any more than I dismiss my willingness, consciously or unknowingly, to indulge it. We mortals breathe incongruity. That I chose to stay with Miles is still, in many ways, confounding to me. And yet I've come to realize that Miles' behavior felt sorely familiar, a song, blaring and dissonant, that I'd learned in my early years. [...] My father had taught me the music. And my mother, in her own way, had emphasized each measure, hummed along with the clamor even as she railed against it. "Men will be men," she'd sometimes mutter, following a feud with my father, her way of rationalizing his adultery. [...] And in my Upper East Side high-rise, a world away from the slum of my girlhood and yet overlapping with it, Miles would be Miles."

"When the world speaks of Miles, the legend, they have no idea who the man really was. The Miles I knew was sensitive and ailing, bruised by the hurts this life metes out. With trembling lips, he told me of the years during his childhood in East St. Louis when he'd been called Blackie by his friends and even some of his family, gazed down upon as a nobody, rendered invisible by his dark hue. He told me of the time, at age thirteen, when he'd been seduced by a grown woman, forced into his first sexual encounter with a friend of a relative. He spoke of the time when his father, a well-to-do dentist, had wanted him to follow in his career path, until a teacher who'd recognized Miles' gift intervened. "Forget it. Little Davis is not going to be any dentist," that teacher told Miles' father. "He's going to be a musician." The first time Miles blew that horn, he'd found his consolation. In playing that trumpet, he did the only thing he knew how, the one thing that made him feel worthy. That is the Miles I knew and, in time, grew to cherish."

"And on one particularly weighty draft he turned in, I told him to go home that night, pour a drink, and listen to some Miles Davis. I told him the thing about Miles Davis is the silences. The notes he doesn’t play. So with that in mind, go take another swing at your draft, find me some silences, and then I’ll get to work."

"Miles said he looked on his need for constant change as a curse. However, Miles, along with Duke Ellington, in terms of looking for models of how you strategize with a band, have been there constantly in the background for me. Not the Beatles as a construct for a group, not Led Zeppelin, not the Floyd. My guides have always been Miles and Duke."

"I would like to hear more of the consummate melodic master, but I feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience. It happens more and more these days, that unqualified people with executive positions try to tell musicians what is good and what is bad music. It’s tempting for the musician to prejudice his own views when recording opportunities are so infrequent but I for one am determined to resist the temptation."

"Another place I worked a lot was the Open Door, where we used to go to hear Miles. I didn't go to hear Miles; I went to see his wardrobe, because he had gorgeous clothes. He always played into the drapes and showed complete contempt for the audience."

"A lot of Negro style-the style of a man like Miles Davis or Ray Charles or the style of a man like myself is based on a knowledge of what people are really saying and on our refusal to hear it. You pick up on the beat, which is much more truthful than words."

"He could very well be the Duke Ellington of Rock 'n' Roll."

"It's that goddamned motherfucking 'Machine Gun.'"

"Try taking the fucking horn out of your mouth."

"A legend is an old man with a cane known for what he used to do. I'm still doing it."

"Don't play what's there, play what's not there."

"For me, music and life are all about style."

"He never wasted a melody. He never wasted a phrase. He and Duke Ellington changed the whole sound. There is no way to describe it because there's nobody on this earth that can do that anymore. What he did to the texture of an orchestration, what he did with a pop song is like writing an original piece. Students will discover him. They'll have to take his music apart layer by layer. That's how they'll know what kind of genius he was."

"If somebody told me I only had an hour to live, I'd spend it choking a white man. I'd do it nice and slow."

"Billie Holiday—she was the nicest woman in the world, you know. All she wanted to do was sing. They picked on her and picked on her to get money out of her. You do drugs 'cause you like to, not 'cause it's a life-style.... They picked on Billie so much. She said, "Miles, come and see me in Long Island." She was in love with one of my kids and his curly hair—he used to ride my bicycle and watch the horse at Aqueduct. She said, "Miles, if they'd just leave me alone; they could have the house—everything." You know the way singers shake their asses now. Billie didn't have to do that. Her mouth was so sensuous; she was pretty and she would say certain words and her mouth would quiver, and she always had this white gardenia and long gloves."

"The only thing I'm interested in is the music and the musicians. I don't acknowledge applause 'cause I'm giving them something. They're not giving me anything with their applause. Can I write that down?"

"Coleman Hawkins told me never to play with someone older than me, and I never have. With older players, there's no force, no drive. With younger players, it's not that you know it all, or I know it all—it's I'm trying to learn it all."

"My ego only needs a good rhythm section."

"Take it off! That's some sad ____, man. In the first place, I hear some Charlie Parker cliches. . . . They don't even fit. Is that what the critics are digging? Them critics better stop having coffee. If there ain't nothing to listen to, they might as well admit it. Just to take something like that and say it's great, because there ain't nothing to listen to, that's like going out and getting a prostitute. [Leonard Feather: This man said he was influenced by Duke Ellington.] I don't give a ____! It must be . Right? I don't care who he's inspired by. That ____ ain't nothing. In the first place he don't have the - you know, the way you touch a piano. He doesn't have the touch that would make the sound of whatever he thinks of come off. I can tell he's influenced by Duke, but to put the loud pedal on the piano and make a run is very old-fashioned to me. And when the alto player sits up there and plays without no tone . . . That's the reason I don't buy any records."

"What am I supposed to say to that? That's ridiculous. You see the way they can ____ up music? It's a mismatch. They don't complement each other. Max and Mingus can play together, by themselves. Mingus is a hell of a bass player, and Max is a hell of a drummer. But Duke can't play with them, and they can't play with Duke. Now, how are you going to give a thing like that some stars? Record companies should be kicked in the ___. Somebody should take a picket sign and picket the record company."

"I love Pops, I love the way he sings, the way he plays - everything he does, except when he says something against modern-jazz music."

"When they make records with all the mistakes in, as well as the rest, then they'll really make jazz records. If the mistakes aren't there too, it ain't none of you."