I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.
Interpretation
The quote emphasizes the importance of authenticity and human touch in music.
Chris Stapleton expresses a preference for music that reflects the imperfections and genuine elements of human performance. He values the natural, unprocessed sounds that come from musicians playing together in a space, highlighting the emotional and vibrant aspects that make music relatable and alive.
In practice
This quote could be shared during a music festival to inspire authenticity in performances.
I didn't know they would pay you money to sit in a room and write songs for other people. I always thought that George Strait was singing a song, he made it up, and that was the end of it. But the instant I found that out, that that could be a job, I thought, 'That's the job for me. I gotta figure out how to do that.'
When you're writing with an artist or for an artist, you have to help them serve their vision. That's the cool part about writing songs. There are no rules.
I'm gonna keep making music that hopefully I think is good, and whatever comes out of that, that will be fine with me.
My visual landscape as a child was the inside of a lot of these old churches. And the Baroque drama of the things was what I was first engaging with artwise. I'm much more attracted to the aesthetic of religious iconography than the actual religious side. The passion and the blood and the violence and the gaudy side of it I find really fascinating.
I wonder anybody does anything at Oxford but dream and remember, the place is so beautiful. One almost expects the people to sing instead of speaking. It is all like an opera.
Mime makes the invisible, visible and the visible, invisible.
I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
The crown of literature is poetry.
In some century to come, when the school children will whistle popular tunes in quarter-tones--when the diatonic scale will be as obsolete as the pentatonic is now--perhaps then these borderland experiences may be both easily expressed and readily recognized. But maybe music was not intended to satisfy the curious definiteness of man. Maybe it is better to hope that music may always be transcendental language in the most extravagant sense
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