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Musician Quotes

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Musician Quotes

“Doin' music, musicians and artists, we have the advantage of doin' something that is our passion. At the same time it's fun, and it's like a dream to other people, and live off it, feed yourself off of it. 'Cause it's hard, you know what I"m sayin'? You really gotta grind and you really gotta love and enjoy what you do, if you're gonna make it. 'Cause if you don't believe in yourself, if you don't got people believin' in you, people aren't gonna buy it.”

“Many people, including myself, thought of Jobs as an inventor, an Edison-like figure, but he wasn't. I did a documentary on James Brown recently; and, oddly, I found a lot in common between Jobs and Brown. Jobs was also a fantastic performer, put on an extraordinary live show at his product launches, but he could also be ruthless, cruel and totally self-aggrandizing. And just as Brown surrounded himself with the very best musicians, Jobs understood the importance of hiring the absolutely most talented people and knew how crucial they were to the success of what he was trying to do.”

“When you get in the middle of a career and you're successful, people come and offer you things. My biggest fear was that if you try to do something else and you're trying to build your music career, and then you say, "I'm going to go do a movie," and you're terrible, you can really hurt your music career because as a musician, the goal is to be cool. You're playing the guitar and you're in front of all these people and your vibe is to be as cool as you can possibly be.”

“In America, the poor have been invisibilised, because obviously this model of success that has been held out to the world must not show the poor, it must not show the condition of black people. It can only the successful ones, basketball players, musicians, Condoleezza Rice, Colin Powell. But I think the time will come when the Occupy movement will have to somehow formulate something more than just anger.”

“My attitude towards my time as a musician, is that I really wanted to completely reinvent myself and not be one of these people who, twenty, thirty years later, is trying to recreate something that happened. I'm glad that Neil Young still makes records, but I don't know that everybody needs to be frozen in time forever. I think it's good that pop music is ephemeral.”

“If you're a musician, you create what you love and hope other people love it as well. Amongst musicians, the starting point is what they love, and then they bring people to them. As a comedian, you have to say something that people relate to, or nobody laughs. As an actor, you have to perform the character in the way that people relate to.”

“After Hurricane Katrina, I wanted to go back to New Orleans to help musicians return to the city. But Andrew Young advised me, "If you want to help people, go work at an investment bank." His contrarian advice opened my eyes to the importance of capital. "Learn how to make some money before you give it away." I learned that you can bring about good in the world especially if you have a paycheck.”

“Listening closely to songs these days, there's a lot of lazy songwriting where people get away with it. I don't want to be too critical about it. But I also feel like I wanted to say something a bit different from just being a musician and singing about yourself. Ultimately, that's not really interesting to me. Even when I was a kid, I was interested in observing people and maybe making my own stories. That kind of reflects in my music.”

“People equate job titles to levels of creativity. We think that musicians are creative while accountants are not. Job title has nothing to do with human creativity. In fact, we all have enormous creative potential. Even those that often state with authority that "I'm not creative." With a systematic approach to building creative capacity, we all have the opportunity to create and leave a mark on the world.”

“People always say that music is a universal language. It was very, very true. We could show up anywhere with any people speaking different languages and we could just be like, "You want to play that song? Yeah, okay." We would usually want to play Latin American songs, and they would usually want to play Santana or Jimi Hendrix and stuff like that. So we would trade off. So yeah, we were able to make a lot of friends that way and meet a lot of local musicians. It was a great experience.”

“On tour things go wrong all the time, I mean that's live music, that's what it's all about. I think one of the things I'm learning is that when stuff goes wrong, really brilliant musicians have the ability to turn this into something interesting and unique. I think good people in any sphere of anything know how to deal with problems, how to take it in your stride. We are learning this by touring, by being put in these positions when we need to focus and deal with it.”

“Email is a mind-killer. Like, I really think getting a smartphone is the worst move I ever did in being a musician because while we've just been talking my phone's vibrated like 15 times and I only get push notifications for like two apps, so either like a bunch of houses are going up for sale right now or someone's like, "Why aren't you emailing me back?" It's just hard to stay in the moment. I can understand why people go to retreats to write and stuff like that but I don't have the time.”

“I often envy a filmmaker or a playwright or an author where people are like, "Yeah, I sat down every night and read your book and it was beautiful." Or, "Yeah, I went to the movies and all I did was watch the movie because that's all you could do at the movies." Where with music, it's like, "Ugh, I love your music. I listen to it while I'm jogging thinking about how I hate my body." But it is also the privilege of being a musician is you can have your music in this documented form and play it live and that's, I think, what draws me to it the most.”

“I don't consider myself very principled. As a travelling musician, you have to adapt and adjust to different contexts every day. It is always difficult to connect preach and practice. For instance, I fly more in a year than I had hoped to do in my whole life. I eat what people serve me, not what I think is right. I tried writing songs that were principled, but always ended up contradicting myself when trying to convert the principles into practice. In fact, these days I try not to be too principled, but rather be pragmatic.”

“To a lot of people, my job is really fancy, so they're like, "Oh, whoah, you're a musician, wow!" Some people go to you, "Oh my god, you're a journalist!" And some people go, "What, you're a therapist? That's incredible!" So everyone, to a certain extent, has other people that you get impressed by, without even having a proper conversation or getting to know them. You're just like, "Oohhh, they're a bit fancy!"”

“My dream right now is - and I don't know how to do it, and I don't know if it will work exactly - but just this sort of vague aspiration to start some kind of website where people send in their stories or poems, and me or perhaps some other people turn that into music. And then by the end of the year we make a record and actually put it out. Like a band, but the band is actually a combination of the musician and the fan. I think that's a very 21st-century way of doing it.”

“What we're doing now, is to try to eradicate the limited notion of how people are interacting with each other through hyper-racialized ideas. A lot of it deal with, as an example, genre. If I ask you to visualize a trap musician or a hip-hop musician, you'll see one thing. If I say visualize a western classical musician, you'll see a very different thing. A lot of how music is disseminated to us is hyper-racialized. It's not something that we think about all the time, but if you take a minute to look back, it's why you get this argument when there's a white rapper.”

“Being a classical musician I'm fascinated with how my colleagues, not just singers, but every musician finds ways to express something else or something new or the same ol', same ol' in classical music. I'm always in dialogue with other musicians at least orally, if I can't be with them and a lot of dead musicians as well. I've learned a lot from dead people on recordings.”

“I'm especially interested in what I call practitioner criticism, which is when people who practice an art form start writing about it on blogs. I think that's an immensely important development. I want to see much, much more of that. People who make music who are verbally articulate. And not all musicians are verbally articulate. But those who are should be encouraged to write about what they do and their perception of what other people do. It makes the discourse smarter.”

“I think there are basically two kinds of musicians: some are extroverted and some are introverted. I think extroverted musicians are more in the entertainer kind of camp, which is just as valid, but you're going to be more apt to make music that is of the moment - whereas if you're coming from a more introverted place, the music is going to end up being more about the past or more personal. It's not going to be about the people in the room, per se.”

“When I went, I hadn't had very much time to have hopes or expectations. I knew very little about Nashville, and I think that was probably good. When I was there, I got really lucky - I ended up with people that just were amazing musicians, and that's the Nashville that I experienced. That is a big part of Nashville - there's a lot of musicians, and that makes it a very special place and shapes the city.”

“I thought "I don't need to reach out to my fans, I don't need to have that dialogue with them." But as a musician, you have to constantly - especially since my music is not on the same level as my acting - you have to connect with your fans. I actually feel like I have developed friendships through Twitter, people that I've worked with I can kind of keep up with them. I've totally turned a corner. I get it. And Instagram.”

“I'd really like people to see me as a real actress, which I am, but they don't. It's hard to get them to see me as a musician, they just see me as a hanger-on to the Stones, which is not what I am at all. It's a good idea, and if something like that would turn up I could do a whole television show. I've thought about playing a landlady, sort of a mad '60s lady, this absolutely insane character. I would love it. It's a great idea.”

“People don't get that being a musician is a job, they don't get what the work takes. And that's just because you're living a dream, so everyone who's observing it from the outside can't really empathize with how much work it is because you're fortunate. And it's a kind of competition with yourself to stay away from all of the excess, whether it's booze or drugs or just the late nights with the addiction to watching the sun rise in some weird part of the world. But when you meet the other musicians, there's generally a spiritual exhaustion that you connect with.”

“I always want to be doing both to travel as a teacher and lecturer, and to be a musician. I think in this generation institutionalizing the art form and spreading it to the younger generation through education is really important for all artists to have some hand in. Right now in popular culture and the mainstream, it's not a big part at all. I think education by young artists talking to young people, not just older people talking to young people, it gives an experience never felt before. I think over the years it will do a lot for the music.”