Bigmouth Strikes Twice: More Great 1980s Music Quotes

Art_Blakey_1973

Art Blakey

Here’s another selection of choice quotes taken from various 1980s magazines, TV shows, biographies and anthologies that have drifted through my transom in the last few months.

Check out the first instalment here if you missed it.

‘Morrissey’s a precious, miserable bastard. He sings the same song every time he opens his mouth. At least I’ve got two songs: Love Cats and Faith.’

Robert Smith of The Cure, 1989

 

‘It’s a better product than some others I could mention.’

David Bowie defends the Glass Spider Tour, 1987

 

‘I’m not the most gifted person in the world. When God handed out throats, I got locked out of the room.’

Joe Elliott of Def Leppard, 1988

 

‘I’m lazy and I don’t practice guitar and piano because I’ve gotten involved with so many other things in my life and I just had to make a sacrifice. Stephen Sondheim encourages me to start playing the piano again. Maybe I will.’

Madonna, 1989

 

‘Nile (Rodgers) couldn’t afford to spend much time with me. I was slotted in between two Madonna singles! She kept coming in, saying “How’s it going with Nile? When’s he gonna be free?” I said, “He ain’t gonna be free until I’m finished! Piss off!”’

Jeff Beck, 1989

 

‘I’ve never really understood Madonna’s popularity. But I’ve talked to my brothers and they all want to sleep with her, so she must have something.’

Nick Kamen, 1987

 

‘They ask you about being a Woman In Rock. The more you think about, the more you have to prove that you’re a Woman In Rock! But if you’re honest, it doesn’t matter whether you’re male or female. That’s the way we work.’

Wendy Melvoin, 1989

 

‘In Japan, someone told me I was playing punk saxophone. I said, “Call me what you want, just pay me”.’

George Adams, 1985

 

‘In the past, we’d bump into other musicians and it would be, “Oh, yes, haven’t I heard of you lot? Aren’t you the bass player that does that stuff with your thumb?” But once you’ve knocked them off the number 1 spot in Germany, they’re ringing you up in your hotel and saying, “Hey, howyadoin’? We must get together…”‘

Mark King of Level 42, 1987

 

‘We played London, we played Ronnie Scott’s, and I noticed that there were a lot punk-rock kids in the audience. After we finished playing, we had to go to the disco and sign autographs, because “Ping Pong”, the thing we made about 30 years ago, is a big hit over there.’

Art Blakey, 1985

 

‘I believe music – just about everything – sounds better these days. Even a car crash sounds better!’

Miles Davis, 1986

 

‘It’s a dangerous time for songwriters in that a monkey can make a thing sound good now.’

Randy Newman, 1988

Yoko+Ono+Season+Of+Glass+522787

 

‘To have those glasses on the cover was important because it was a statement and you have to understand that it was like John wanted you guys to see those glasses.’

Yoko Ono, 1989

 

‘I’ll f***ing… I’ll go and take on anyone, any white singer who wants to give me a go.’

Matt Goss of Bros, 1989

 

‘I’ve never said this before but my drums is so professional, man, know what I mean?’

Luke Goss of Bros, 1989

 

‘I hate parts of my own albums because I know I’m hearing something that doesn’t translate to piano. In fact, I’m being dishonest by playing piano at all.’

Keith Jarrett, 1987

 

‘When I began to see how Elvis lived, I got such a strong take off of it. It was all so revolting!’

Albert Goldman, 1989

 

‘The best way to make great art is to have it trivialised by other people as much as possible. That way, you fight and fight and fight.’

Julian Cope, 1989

 

‘Whatever you’re tops in, people is trying to bring you down, and that’s my philosophy.’

Samantha Fox, 1987

 

‘Call me fat and I’ll rip your spine out.’

Ian Gillan, 1983

 

‘Sure I care about my fans. Because fans is money, hahaha. Muh-neee! And who does not care about money? Me, I like muh-neee, haha.’

Chuck Berry, 1988

 

‘I have this long chain with a ball of middle-classness at the end of it which keeps holding me back and that I keep sort of trying to fight through. I keep trying to find the Duchamp in me.’

David Bowie, 1980

 

‘People who say, Oh, I don’t know anything about music – they’re the people who really do know about music because it’s only really what it does to you.’

Steve Winwood, 1988

 

‘I notice that critics and others don’t credit black people with the ability to write ingenious, creative lyrics.’

Nile Rodgers, 1981

 

‘I’m below the poverty line – I’m on £16 a week. We needed some clothes and our manager said, “I don’t know what you do with your money. I mean, 16 quid!”’

Gary Daly of China Crisis, 1984

 

‘You take four or five of those rattlesnakes, dry ’em out and put them inside your hollow-box guitar. Lightnin’ Hopkins taught me that trick.’

Albert Collins on his guitar tone, 1988

 

‘People are bored with Lionel Richie going “I love everybody, peace on earth, we are the world…” F*** that! People love bastards.’

Terence Trent D’Arby, 1987

 

‘Epstein dressed The Beatles up as much as he could but you couldn’t take away the fact that they were working-class guys. And they were smart-arses. You took one look at Lennon and you knew he thought the whole thing was a joke.’

Billy Joel, 1987

 

‘I remember when the guy from Echo & The Bunnymen said I should be given National Service. F*** him...’

Boy George, 1987

 

‘I couldn’t stand it – all that exploitation and posturing, the gasping at the mention of your name, the pursuit by photographers and phenomenon-seekers. You get that shot of adrenalin and it’s fight or flight. I chose flight many a time.’

Joni Mitchell, 1988

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Courtney Pine: ’80s Jazz Messenger

courtney pine

Courtney in concert, 1987

Gifted saxophonist Courtney Pine‘s career is one of British jazz’s great success stories. Starting out in the early ‘80s as a sideman with reggae act Clint Eastwood and General Saint and various Britfunk bands, he became disillusioned with the outlawing of jazz as a respected, popular music in the climate of the early ’80s London music scene.

As he memorably put it in the superb BBC TV documentary Jazz Britannia, ‘I would add different notes in the scale the way Sonny Rollins did and people would say, “No man, we don’t want that.” They were saying to me, “If you’re black and you want to play jazz in this country, you’d better go and live somewhere else!”’

But all that changed when he caught US trumpeter Wynton Marsalis on TV one afternoon. Marsalis’s professionalism and dynamism were a revelation to Pine (not to mention his youthfulness); if Marsalis could bring jazz to a wide audience, he could too.

A period of intense woodshedding paid off, and soon he was guesting with Art Blakey’s Jazz Messengers and The Charlie Watts Big Band, blowing all over the Angel Heart soundtrack and blowing people away with his solos in Gary Crosby’s groundbreaking Jazz Warriors and Jazz Jamaica groups.

Island Records came calling, and his 1986 hard-bop-based debut Journey To The Urge Within made the Top 40 in the UK (scraping in at 39 on 25th October ’86!), an almost-unheard-of state of affairs for a jazz album. This web editor fondly remembers the day when, on opening the NME, unexpectedly found Pine’s debut and Miles Davis‘s Tutu sharing the chart.

courtney pine

Courtney spearheaded a huge resurgence of interest in jazz in the mid-to-late ’80s. But despite his huge success and admirable teaching work, he’s still somewhat of an anomaly on the scene, a barnstorming soloist with a lot of technique and a huge sound, one of the few British saxists who can give US brain-blowers like James Carter and David Murray a run for their money.

With Courtney’s playing and talent, it’s a question of context. His musical vision has certainly diversified since the mid-’80s, taking in elements of reggae, drum and bass, UK garage and jazz/funk, though the last few years have seen him refocus on mainly acoustic formats.

His fine 2011 album ‘Europa‘ was his first all-bass clarinet record and it was an absolute blast. He investigated calpyso forms on the 2012 House Of Legends set and returned to the bass clarinet for his beautiful current album Song (The Ballad Book).

Courtney is still a prolific live performer too, check out his website for details of all upcoming gigs. More power to his elbow.