I want to win a Grammy. I want to be on the cover of Rolling Stone. I want to be a musical guest on 'Saturday Night Live.' And I want to play arenas and have tons of people watching me.
NEU!'s music will always ("für immer") be a part of me and I absolutely stand to what we've created. Of course I have changed since and I judge my contributions to NEU!'s music of the 70's in a historical context. They were both a description of my feelings back then as well as an expression of my musical abilities and limitations. It would be a mistake to ignore the time factor and it would be an artistic shortcoming to pick up on the old concept without doing any changes. There is no way this is going to happen anyway.
The main reason for the break was a combination of travel and going back to university, which drew me into theatre more than music. I did stuff on acoustic guitar when I was traveling, filed it away and made notes, without it being musical notation. Just taped the odd thing, did a sketch, stuck it on a cassette. I thought at some point, I'll go back to it. Some of it I did use in '84-'85 when I started working in the Free Theatre in Christchurch. So it might seem like I had given up after the Pin Group, but I just went into a different avenue.
There has been a whole lot. Just to combine a musical career with the last year on high school was enough as it is. I didn't think it should fare as well as it did, but apparently it did.
Well I started out on guitar, so it is still the mainstay of my music. But I have recently been working very hard on my piano, and it is coming along to the point where it is taking more of the spotlight. It has been my plan to be able to make music well into my old age, and sitting down seems like a good idea. Also, I don't have to carry the piano on the road. I haven't been playing the banjo much of late because of the difficulties of travelling with so much gear. But maybe I'll bring it to Japan. It adds a different color to the musical palette.
I come from a musical family. My dad was in a group in the 70s, The Hudson Brothers. Now he's a songwriter and producer. So, I just kind of grew up with music and it was something I always knew I wanted to do.
Life is a musical influence in my experience. But as far as actual music and actual bands, uh, I'll just look at my little collection here. Let's see. Bob Dylan, The Beatles, Pink Floyd, U2, The Talking Heads, Prince and the Revolution, Michael Jackson's Thriller was a huge one.
Sometimes you have to protect the life of the play. It seems like spelling out mysterious, musical details can destroy a play by making the motivations too clear, too simplex.
Once I got the open tunings for some reason, I began to get the harmonic sophistication that I heard that my musical fountain inside was excited by. Once I got some interesting chords to play with, my writing began to come.
There's a really rough and relatively consistent hierarchy of concerns. My musical interests come first and principally my fascination with how notes and rhythms interlock. Then comes the technical side like programming, instruments and designing instruments. Next is production and mixing and beyond that I start to care less.
I wanted to focus on songs that I was inspired by growing up. I love so many of them from the last 100 years, but I really wanted, for my first step forward, to choose material that has inspired me and got me into the world of musical theater.
When I was 18 years old, I went on the road with my dad after I graduated from high school. And we were riding on the tour bus one day, kind of rolling through the South, and he mentioned a song. We started talking about songs, and he mentioned one, and I said I don't know that one. And he mentioned another. I said I don't know that one either, Dad, and he became very alarmed that I didn't know what he considered my own musical genealogy.
My earliest musical memory was getting to watch my dad play drums in a local band. He's a banker by trade, but a drummer at heart. I remember seeing the guitar player do the solo from "Werewolves of London" with his teeth, and that was the moment that had me hooked.
The record is definitely a musical journey. It's kind of all over the place, which I like.
So I always liked to sing, and apparently when I was about four or five I also started to be attracted to pianos and musical instruments. Whenever we went to a friend's house, I vaguely recall climbing up on the piano, plunking on it, and trying to figure it out. So my parents figured I was interested and asked me if I wanted to take piano lessons. I said sure.
It's the opposite of that. Engineers in lab coats have created a musical experience that is so crisp and clean, it can literally improve your hearing.
My musical life started with hearing and being fascinated by contemporary music.
Oral musical traditions are rooted in assured and scrupulous faith.
Mozart encompasses the entire domain of musical creation, but I've got only the keyboard in my poor head.
We are still not in the Rock & Roll Hall of Fame but there are 3,000 Kiss products, a Kiss musical toothbrush, everything from Kiss caskets to Kiss condoms. There are no Radiohead condoms.
Without question the most unpopular medium of musical sound in the world.
The truth is I love musical theatre and always have.
Deciding what is to be sung and what is not to be sung is really what writing a musical is about.
Musical numbers should carry the action of the play and should be representative of the personalities of the characters who sing them.
In terms of theater itself, no story is too strange or method of telling it too impossible these days. In many ways, musical theater has caught up with straight theater in that it's allowed more surreality and breaking of form, and that's really exciting to me - the challenge is getting people to produce those shows.
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