I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
Brian EnoRead
I'm really glad we came up when we did. When we got started, the record companies were concerned with building careers. They made sure you could put on a live show before you put a record out. And if your first album sold 100,000 to 200,000 copies, they were happy, because they figured you had your foot in the door on a way to a long career.
Interpretation
This quote reflects the importance of live performances and gradual career building in the music industry.
Philip Bailey expresses gratitude for the era in which he began his music career, highlighting how record companies then prioritized the development of artists' live performance skills and the potential for long-term success. He emphasizes that record labels were more patient and allowed artists to gradually build their careers rather than immediately expecting massive success, which created a more sustainable path for musicians.
In practice
This quote could be used in a speech at a music industry conference to highlight the importance of nurturing talent.
I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
When one knows at an early age that their gift, talent and direction is musical, one tends to focus on that and let nothing interfere or impede the forward motion toward the end of that rainbow. And after 50-something years of rockin' out, you still realise there is no end to that distant rainbow until one's last sunset.
My greatest teacher was not a vocal coach, not the work of other singers, but the way Tommy Dorsey breathed and phrased on the trombone.
I say to string players in small chamber orchestras, 'it's always easy to become a passenger on the journey in sound, just adding volume to the whole. But if you play in an individual way, it makes the difference between good and great sound in an orchestra.'
I owe very, very much to Mozart; and if one studies, for instance, the way in which I write for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud of it!
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.
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