John Corabi Quotes

There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we can take some creative liberties with.

Regardless of who originally made it popular, any hit song becomes a challenge to the ingenuity and imagination of other musicians and performers.

I've always wanted to pull off 'No One is to Blame' by Howard Jones. I've done that a couple times in solo shows, but I can't figure out how to do that with a full band and make it work.

I think if you're going to cover a song, you should definitely take it apart and put it back together as if you wrote it. I don't think you should sing it the same way that the artist sang it - that's kind of pointless.

Sting I've seen a few times, and he really inspired me in the sense that he breaks the songs down a lot and will take a different approach. He'll take an acoustic approach to them; he'll rearrange them for the live stage.

I don't like the idea of having to reproduce a recorded song live that I sing. I have enough to do on stage. I'm really busy up there, and I'm really busy with everything I have to do for every show. Add having to worry about my voice and singing lead on a song or two, that's not something I necessarily want to do.

All Boston songs are fairly difficult to translate to the stage. None of them are especially easy to play or sing. A lot of them, of course, have very involved arrangements with lots of different sounds and sections that are difficult to play and sing. The prospect of doing any Boston song live is always an endeavor in itself.

It's a constant challenge to get your arrangement and musical expression across to a new audience, especially when you're playing live every night like we are.

We have always adapted ourselves to the songs instead of vice versa.

I always try, when I'm singing songs, to interpret them the way that I would've arranged them. I think about the melody first, and then I pull out my guitar and start singing it.

If the rhythm or beat of the music changes with a live orchestra, you have to think on your feet. If you feel like you are not on your leg, you have to make a decision to make it look as though nothing is going wrong.

It's weird being a DJ and you have a playlist of your own songs that you could hold it down for an hour.

I don't feel like a live set even seems super real for an electronic act like me. It's not really that entertaining. I've seen a lot of my favourite acts take it to a new level with a live band and stuff, which is amazing, but for me, a live set would be boring to watch.

I never wanted to just press play on some DJ set and let the lights do all the work. I value old-fashioned performance a little more than that.

I always communicate musically. I want my band not only to learn the form and feel of the song by ear, like I do, but also have the freedom to contribute.

The synth helped us in that it meant you didn't have to be a traditional four-piece band and basically, you didn't have to work too hard.

When I perform live, I'm doing a lot, but I kind of black out. I don't think about it too much.

Conducting 'Tristan' is like floating in amniotic fluid, but having worked on it for three months, I now know why people who go near it go so strange.

The appreciation that we received after the release of the audio of 'Every Night and Day' is all because of Iulia Vantur. According to me as a composer of this song, she made this song sound very fresh.

Widespread Panic discovered a couple of my songs and started doin' 'em on the gigs. They'd take a song and expand it and everybody plays a long time and people really like that. But I made my living as a songwriter so I try to get to singin' and get it over with.

I think that no number of rehearsals can guarantee the outcome of a live show.

The 'Voice Kids U.K.' songs were chosen for me, and I had to try and make them mine.

Unlike movies, on stage there are no second chances. Everything is live. If someone messes up, forgets a line, gives the wrong cue, you need to have the presence of mind to move the play along.

I love when a song is conceived as a jigsaw puzzle in the studio, and then it's a natural to play live. That's my gauge of success for a song.

That's all I ever do, just try and do the best I can and cater to the song, cater to the music.