Buck Owens Quotes

If there's room to make a record every year, and it sounds nothing like the old one, I might do that. It's easy to get in and have fun. To me, if it feels right, that's all that needs to be done.

To keep creating something with this type of music, you have to take it out of the box.

Miles Davis would have this lineup of all these amazing musicians and one day would just say, 'We're done.' After tons of great records and tickets sold, he said, 'Now I'm going to grow my hair out and play my horn through a wah-wah pedal.' Rather than play it safe, he went on.

Especially with Fantomas, i'm just trying to stretch out what the band can do. Figuring out, really, on the job or on recordings, what I can or can't get away with.

Maybe the biggest thing that I've learned musically is that anything is possible. Things can work when maybe they don't seem like they can.

You just keep playing. If someone special comes along and organizes it in a new way, then you'll have another approach and everybody will jump on it to try to learn.

What I want to happen is to be really creative, and to play something new in the improvisations, every time.

I'm definitely a risk-taker with my music.

People think that when they're playing it safe, they're trying to preserve what they have, but there is no preservation of what you have in music. There's no safety in music.

I think music needs danger; it needs risk.

One thing I liked about 'Silver Bell' is that I barely knew how to play in the tuning I was writing in, and I just went for it anyway.

The rule is to try and never play the same thing twice when you have the freedom to do that in the song.

I've never been one to just play safe music and think that's all there is to it.

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

Stay adventurous with that musical taste.

If you're always playing the correct notes, there's something wrong - you're not searching; you're not reaching for anything.

The beautiful thing about working with new instruments is that you sort of approach it with a fresh perspective.

The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well.

I'll never stick to one sound, I switch it up.

A lot of people from my generation of music are so focused on playing things correctly or to perfection that they're stuck in that safe place.

It's so much in me to want to keep experimenting all the time. It's just inherent. Therefore I keep reaching for instruments I don't particularly know how to play, and then I become excited.

In terms of music, I can try anything I want, even something that doesn't work at all, because I'm not putting my career in jeopardy.

I think it's always important to constantly keep the band on their toes and try new things that you hope will work. That's how 'Apologize' was born, and maybe down the line another little song will be born by that mentality. I've always really liked that song.

Musicians are always eclectic. Musicians are always curious and hungry for new things.

What I always try to do is to respond to the song; I've always rebelled against theory.