Cindy Wilson Quotes

I'm looking forward to some more solo acoustic dates. That's a lot of fun for me, because I get to be alone with the song. And I get to hear every little nuance; if my instrument does something that I wasn't expecting, I get to chase that. Chase that down a little bit.

I enjoy all aspects of singing and I'm luckily given the choice to be part of different styles of music.

I do have a way of playing piano where it's very melodic and emotional, but then often it's great if whoever's singing doesn't sing exactly what's in the piano melody, but maybe it's connected in some way.

Once you free your mind about a concept of music and harmony being correct, you can do whatever you want.

I must tell you I take terrible risks. Because my playing is very clear, when I make a mistake you hear it. If you want me to play only the notes without any specific dynamics, I will never make one mistake. Never be afraid to dare.

When I perform Strauss, it is as if the music fits me like a glove. My voice seems to lie in a happy area in this music, which is lyrical and passionate at the same time.

Wagner manages to convey emotion with music better than anyone, before or since.

Sounds like the blues are composed of feeling, finesse, and fear.

I don't read music. I don't write it. So I wander around on the guitar until something starts to present itself.

I make music with no boundaries.

I am so happy that I didn't go to school and I didn't have anyone to tell me how to position my fingers on the piano correctly. And what you do with music and what is the correct way to write it and what is not the correct way to write it.

I don't write songs about a specific, elusive thing.

Usually bands with violins - it's this little, poorly amplified looking kind of futile on stage, and that's not the way that my music is put together.

When you write a song, you don't ask if it's good or not, or if it's gonna sell. When you write a song, you ask whether you've reached deep inside your heart and whether it's honest.

Music needs room to breathe.

I'm always thinking about songs and how I can sing a song that would resonate with my voice, my persona. I want it to be a pleasant experience that's not just about hearing my voice. I remember some singers whose voices were so pretty, it didn't matter what they sang - you loved it.

When you draw or paint a tree, you do not imitate the tree; you do not copy it exactly as it is, which would be mere photography. To be free to paint a tree or a flower or a sunset, you have to feel what it conveys to you: the significance, the meaning of it.

Behind the notes, something different is told, and that's what the interpreter must find out. He may sit down and play one passage one way and then perhaps exaggerate the next, but, in any event, he must do something with the music. The worst thing is not to do anything.

One reason I think I am able to work with such dark material is the fact I was never really discouraged from making this kind of work.

When you're a writer, your song has to resonate with the person you're writing for in order for them to want to sing it. But if you're an artist, you can sing whatever you want.

In the band Semi-Precious Weapons, I got to sing, wear, and say exactly what I wanted for ten years.

Most of the musicians I play with - aside from the form and structure of the music - the interpretation is up to them.

With Alkaline Trio, we are who we are. We never really feel too confined, but when we get together, there is an Alkaline Trio sound, and when I go off and do something on my own, there is an element of freedom that I don't have with the Trio.

That's the thing about the blues: It's one thing to hit a note on a guitar. To make it matter is something else altogether.

We don't want to box ourselves within any type of genre, you know? Whatever feels good, if it moves us and we like it, we get on it and make it our own. That's what we do.