American - Musician | March 10, 1947 -
I can tell you that I can always recognize a Boston song, even if it's in a noisy place. I can hear that it's Boston even before I know what song it is. If a Boston song comes on in a club or somewhere, I notice that it's Boston, and the second thing I notice is what song it is.
Tom Scholz
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The whole experience of getting an album from an artist you like and listening to it from beginning to end is sort of gone. Now it's piecemeal.
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The problem is that once I start on a song and get a rough idea of where I might go with an arrangement, I try dozens, sometimes hundreds, of different things on a song. The bass, the backing guitars, the lead guitars, the keyboards. It's a long process. It's like 100 steps forward and 99 steps back.
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I'm certainly aware of the fans. I'm always hoping that what I'm doing is something they'll like, because I do appreciate them. But, no, when I get into the studio, it's all about what I like. It's the same thing that led me to the possibility of making that first Boston album, which was to divorce myself from all other influences.
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I take chances. I don't limit myself. I don't think anybody who listens to Boston would have predicted hearing a female rapper on the beginning of the song 'Sail Away.' But that's what fit.
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I'm a huge fan of Joe Walsh and a big James Gang fan. A lot of what I know about playing the guitar I learned from listening to him.
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The one thing I will say for digital, and you won't hear me say that many complimentary things about it, is that it's cheap. It pretty much enables anybody to record as long as you can deal with the sound.
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The lyrics are always the last thing I do. I always have a recording of basic tracks and maybe some of the lead work. I'll sit back and listen to it, and I'll just concentrate on what kind of feeling it gives me. My goal writing the lyrics is to not disrupt that feeling.
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I took classical piano for a couple of years, but I sort of lost interest - I couldn't read a note today if I tried. I still enjoy that stuff, and I think I naturally gravitate towards the classical licks; in fact, I know that I do. I gravitate towards the classical licks that I heard by famous old composers.
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The pressure is all self-imposed, and it's to live up to the expectations of people who are going to shell out their hard-earned cash to listen to the music. It's actually more than that, though. I wouldn't want to make a record that didn't live up to my expectations.
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I can sit down at a piano or with a guitar and just chug away for hours and be perfectly content with whatever comes out. But when it comes to something that somebody else is going to listen to, then I do feel a great deal of pressure to do something that's exceptional, at least in what I consider to be at the limits of what I can do.
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If things aren't going well, music is what I turn to so I can get away from it, to take my mind somewhere else.
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