Rock and roll isn't a career or hobby - it's a life force ... it's just something I have to do.
The EdgeRead
Starting a band is the easy part. Once you've formed the band, you have to tell a story, and that story requires songs. And not just good songs, but great songs. After a while, great songs won't do - they have to be the best. Success doesn't make it any easier. Each time I start a new record, it's a brand-new search.
Interpretation
Starting a band is simple, but creating exceptional music and a compelling story is the real challenge.
The quote by The Edge emphasizes the complexity of the creative process in music. While initiating a band may seem straightforward, the true difficulty lies in crafting a narrative through their songs that must transcend mere quality; they need to be outstanding. Success does not simplify this challenge; rather, each new album release presents a fresh quest for artistry, suggesting that musicians must constantly evolve and push the boundaries of their creativity.
In practice
During a speech at a music conference to inspire up-and-coming bands.
Rock and roll isn't a career or hobby - it's a life force ... it's just something I have to do.
Music is such a great communicator. It breaks down linguistic barriers, cultural barriers, it basically reaches out. That's when rock n' roll succeeds, and that's what virtuosity is all about.
Weirdly enough, if I'm having trouble with a guitar part - not the playing of it but the writing - I'll mess around with echo and other effects, just turn everything up and make it as crazy as can be, and it winds up taking me somewhere. I've found so many guitar parts from echo. It's limitless.
The big cop-out would be to accept popularity rather than opting to try to create potent work. It's so easy to do the popular thing, the expected thing, and that's where you start to cheat yourself - and your fans, in the end - because there's an inherent dishonesty in pandering and dishing up what everyone's expecting.
When I started to sing like myself - as opposed to imitating Nat Cole, which I had done for a while - when I started singing like Ray Charles, it had this spiritual and churchy, this religious or gospel sound. It had this holiness and preachy tone to it. It was very controversial. I got a lot of criticism for it.
We'd like to think that our music will always be bigger than any one of our individual personalities.
I'm not a star. I'll never be a Frank Sinatra or Elvis Presley or a Ray Charles. I'm just an imitator, man. I'm doing a very bad imitation on the bass of Jerry Jemmott, Bernard Odum, Jimmy Fielder, Jimmy Blanton, Igor Stravinsky, Jimi Hendrix, John Coltrane, James Brown, Charlie Parker... the cats, man. I'm just backing up the cats.
In our local Baptist church, I sang in the choir and formed a gospel quartet. When our minister caught me messing with his guitar, he taught me three positions - one, four and five. After that, I taught myself to play.
I've never thought about songwriting as a weapon. I've only thought about it as a way to help me get through love and loss and sadness and loneliness and growing up.
The music field was the first to break down racial barriers, because in order to play together, you have to love the people you are playing with, and if you have any racial inhibitions, you wouldn't be able to do that.
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