Jimmy Page Quotes

The Allman Brothers 1969 to 1971... were all about... jumping off the cliff... Just taking music and being adventurous with it.

And I'm interested in writing music that takes risks. My point is that maybe the term EDM is pinned on me and my buddies, but maybe it'll be less so if I experiment.

Whether it's a song that might deviate from an artists' usual sound or even if it's still very much in their world, I think the more people opening themselves up creatively to collaborate with others, the better.

When you keep the caliber of musicians very high in the band, people are going to come and go. Some of them will be people who have to try various things, it's natural.

I grew up listening to everything. I have such a love for music, but I don't want to make the same album over and over again.

If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.

From my time in 'King Crimson,' I'd describe a Progressive band as one that keeps trying to break musical barriers, and keeps trying to do new music.

Being able to take musical ideas through every iteration is attractive to me. Granted, not everyone's going to want to listen to that, but it should exist.

When Wes came back to Limp Bizkit, we really wanted to do something different. We wanted to make a core record that we didn't care who liked or who disliked.

It seems like everything I do musically I tend to lose a few fans and gain a few fans, and it all kind of evens out.

When I started writing, I just wanted to do something different and creative. I first thought neo-soul was a good pathway for me, so I tried that out but realized I didn't want to be placed in that box.

For 'Paul's Boutique,' we had a lot more money and a lot more time. It was definitely more on our own terms.

Growing up in Miami, having these different cultures and being inspired in so many ways musically has let me have a very long career, 'cause just when you think I'm gonna do this type of record, I go and do something else.

When you have a film that's acclaimed, there's a tendency to go big or get serious or something, but I had an impulse to do the opposite.

What I appreciate about Sleater-Kinney is that we did six records, and they all felt different. It was a band that was able to encapsulate different sensibilities because we were focusing on it as music and art and not as a statement.

In the 1960s and into the '70s, everyone in their own way was trying to open up the musical horizon. There shouldn't be a wall that you're going toward and bouncing off.

I always want people to expect the unexpected, to hear me in records that have nothing to do with bachata. 'Golden' is the golden opportunity for them to appreciate me on other records.

We built something very special with Gaslight, and we don't want to mess with that sound too much. But I've always wanted to do a record where I can put strings or organs or pianos or whatever on it.

There are a lot of great recording artists, like Jack White and Jack Johnson, who stay confined inside a very small box, but I'm more like Bon Iver, who recorded an album with programmed drums, and the next record was totally organic. I get that.

I have a soft spot for 'Wind of Change' because it was my first one, and it was a departure from Humble Pie - very much so. It showed me the spectrum of what I could do.

The only way I'm comfortable with a new album is if I'm taking a new risk.

People are surprised when they realise that I have sung 'Tinku Jiya' as they felt it was not my genre. As a musician, till the time I don't try something, I don't refuse it. I like challenging jobs.

I always want to keep moving musically and trying new things.

If there's only one genre that it's possible to listen to or possible to see live, then how can you explore different styles? How can you evolve, musically?

Motley never once sat down and said, 'Well, the music scene's changing. We need to make this record a little darker or heavier musically or lyrically.' It was just four guys sitting in a room like a bunch of 16-year-olds in a garage and jamming on riffs.