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There are right and wrong reasons for doing solo projects, and this album was done for the right reasons. At the time there was no Judas Priest and I certainly wasn't going to hang my hat up on my musical career.
It was about working with other musicians, but more than that it's about exploring musical areas that you could never do with the band you're in, in my case Judas Priest. You could tackle musical areas and lyrical areas that wouldn't be appropriate for Priest.
I have found my heaven in musicals. When I watch a musical, it makes me believe life is still beautiful.
I can't even tolerate my own playing on electric keyboards. It's not about the musical ideas - the sound itself is toxic. It's like eating plastic broccoli.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
I am an opera virgin; I'd far prefer to see a musical such as 'Guys and Dolls.'
I still will sit down at the piano and play when I am wrestling with something emotionally or just want to move into the musical world.
If my musical tastes are continuing to grow up, and I am not really too interested in the music that my kids listen to, then I assume that the audience is doing the same.
Every musical movement that is big enough has to produce some good musicians who wouldn't have had the incentive to start playing without it.
Since the age of 12, all my musical thinking has been influenced by Afro-American music.
Both parents were very encouraging - especially my father. My father thought the sun rose and set with me. Neither one had a musical background or any musical talent. They liked classical music, but neither could carry a tune.
Yeah, I've always considered myself a musical person.
That creates the magic, and that's the wonderment of the musical process and how precious that is.
A voice expressing emotion in a musical way moves on. It's like the finale of the movie 2001: A Space Odyssey (1968) - the world turns in on itself, as a universe unto itself, in the shape of one human being.
Quality is timeless: It will clearly define itself. And so I make reference to and acknowledge things that I feel have been dismissed, trying to restate those musical and cultural elements clearly and vehemently.
Look, I'm 40, I'm single, and I work in musical theater - you do the math!
I would love to have a varied career, like Hugh Jackman. He started in musical theater, then established himself in film, but he still does a lot of stage work. And he does it all beautifully.
I began with dance, doing ballet at 3, then tap, jazz, modern. Then I sang in church choirs, learned how to play clarinet and drums, sang with rock bands and only then did I get into musical theatre.
I gladly accepted the commission but was uncertain about what the end result would be. On the one hand, Cuban music was conquering the world; being heard everywhere, and our small island was already producing one of the popular musical genres of the 20th century.
Yeah, it's a lot harder to find a musical partner than a love partner.
You know, Python should have won a Grammy for our musical work on the show.
A lot of people on the internet have been saying that there's no way we can pull off a musical in three acts. We just take that as a challenge.
The Lounge Lizards were relating with a tradition and it was like I was playing within a musical context. The guitar playing stood out as being different in some way. That was a real education for me.
I don't think theater is dying, and musicals are a great American art form. We've got apple pie, jazz and musical theater.
Musical theatre is my first love.
Do I want to write a musical? No. I like to do musicals.
I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms , he does it in emotional terms. I got along really well with him.
I believe in using the entire piano as a single instrument capable of expressing every possible musical idea.
I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.
As an actor, you generally don't get to choose what projects you are part of, so I've been very fortunate that 'The Book of Mormon' was something I got to be part of. I don't want to be lofty, but it was groundbreaking, in many ways, for musical theater, so that was really thrilling to be part of.
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