Everyone knows about The Who, but I didn't. I knew the popular songs like "I Can See For Miles." So that was the first song I worked on because it was the catchiest and easiest.
Timbaland uses a lot of Indian music and that has certainly familiarised me about the music of India.
I know every Skynyrd and about all Johnny Cash songs.
With Damageplan, we had to endure the Pantera fans, because Pantera is what they really wanted. But with Hellyeah, at a show in Baltimore, the crowd knew all the words.
I don't think I've ever listened to 'Sgt. Pepper's' the whole way through.
I'm not sure how young kids get to the point where they're memorizing and knowing songs, but I knew the words to 'Missing You' from John Waite probably from when I was three years old. For whatever reason, that was the song that I gravitated toward when it was on the radio and I was driving around with my mom.
When you listen to radio and hear the same 20 or 25 songs, you start hunting down your CD's. Waylon Jennings' records were always around to listen to.
I know the words to, like, every song. Hoobastank, whatever.
I find it really irritating when a band changes the melody of a song you know.
Anyone who knows classical music and loves classical music has heard the Beethoven Seventh hundreds of times probably in their life.
It seems like people need to get into the last album until they can tolerate the next one. And then, slowly but surely, by the time the new one's available, they've gotten into the last one and they really love it.
Most of the time when we do a tune, Bad Blake, it's a tune no one's heard of to begin with.
There's nothing I like better than talking to kids, just sharing the music with them. To relate to them, you need to play songs they're familiar with.
I was looking at the setlist backstage and I just said, 'Oh my God, the first six songs nobody's gonna know.' But they all knew the lyrics. It just blew me away.
My mistake was in underestimating the emotional force of a song you have already hear a thousand times.
It's great to be able to get up there now and do an hour or 75 minutes of songs they're familiar with.
I wanted contemporary music to be treated the same as the traditional repertoire - performed regularly by people who knew each other and the music. That is the way you convince an audience.
I don't know any American rock bands.
When I get home and turn on the radio, I hear songs that are new to me, but to everybody else they're old. I try to keep the music fresh in my head.
I don't really listen to the radio too much. I know that one song, "Hotline Bling."
We like songs that are familiar.
ABBA songs are so anthemic, and so ingrained in your system, that you can't really remember when you heard them.
Women do not like CDs of live music. We only like the original recordings. If a song sounds different from the version we fell in love with, then it's awful.
I thought, If I'm gonna run a jazz club, if I've got Miles Davis' posters in my bar, I should at least know what his horn sounds like.
If you don't already know about jazz music, how would you be exposed? How would get an opportunity to find out if it spoke to you? If you get exposed to it enough, you might find a taste for it.
