Here, we’ve compiled a list of the best Lee Ranaldo Quotes. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Lee Ranaldo Quotes before, but that’s because they truly are great.
We find that the more you talk about it, the more you head off any spontaneous inspiration that might happen.
I recognise that the whole issue of downloading and intellectual property rights is not an easy one, but on the whole, I’m a fan of downloading, both legal and illegal, and the open-source ethos that it harbours for the future is a good one.
I’m married to a Canadianm so I have a lot of fond thoughts about Canada. I think about the prairies of Manitoba, where my wife is from, and I have a lot of friends and relatives on both coasts and have spent a lot time in Canada from Nova Scotia to B.C. In some ways, it’s a much more sane country than the U.S.
Sonic Youth was not a singer-songwriter band. It was an electric collective. And, whatever else people‘s perceptions of Sonic Youth were, it was always about putting together a time-based composition – and that is exactly what songwriting is, in its classic form.
We’re not really an underground band anymore, and we’re not a mainstream band, either.
We used to have endless discussions with journalists about that: ‘Why are you calling it noise? It’s not noise, it’s music,’ and make references to everybody from John Cage to whoever.
One thing I always loved about vinyl was the length of a side, around 20 or 22 minutes. That’s the perfect length of an attention span for listening time, you know? You could listen and give it all your attention. Put on something that’s 70 minutes, and nobody‘s sticking around past the first 20 or 30 minutes.
We’d been on Geffen for a long time, and I think we felt that we needed a change. I just don’t think we felt very close to the people at the label after all this time or that they understood what we were trying to do. I don’t have any regrets, because at the time we signed with Geffen, it was the right thing to do.
When I was in the first years of university, I fell in more with the visual arts crowd because it was more interesting than where music was.
I absolutely love Las Vegas. I’ve been there a bunch of times on my own.
I gravitated to New York City in the late ’70s to pursue a career in visual art, which is what I trained in at university.
Sonic Youth could never really get it together acoustically – quite frankly, it wasn’t something we were really that interested in.
It’s not like we set out to antagonize the audience in any way. We’re just presenting our music; it’s really much more innocent.
I read a lot of science fiction, and it’s ingrained, in a certain way, and I’ve been very involved with Kerouac and the Beats, but before that, it was a lot of science fiction.
I saw the Dead in ’73 at Nassau Coliseum, and that same year, I saw them at the crazy, big Watkins Glen festival. It was just outrageous. It was amazing to see the reciprocity between them and their audience.
The Grateful Dead always had their iconography down pat.
‘Daydream‘ brought us to the top of the heap of the indie-college market and recognition by all of our peers; ‘Daydream’ kind of capped off everything we set out to do when we started as a band, in terms of, like, wow, wouldn’t it be great to make a record that a lot of people liked and listened to?
I’ve never been a huge Zeppelin fan, much to the chagrin of everybody else in my former band. But certainly those Pink Floyd records, I was really into them, especially ‘Dark Side of the Moon.’
‘Europe ’72’ came out right around the time that I started going to see the Dead, and it had a huge impression on me.
Signing to a major, there weren’t many bands from our sphere that were doing it. I mean, obviously R.E.M. had done it, and Husker Du and the Replacements had done it, and maybe Soul Asylum, but that was probably about it. Those four bands were pretty much the only ones from that milieu that had signed to a major.
I guess I see ‘Goo’ half as a really New York record because I think there are a lot of really particular New York references on it, but I also see it, for us, as the first of our records that really opened up to the larger world around us.
When Sonic Youth writes music, we write everything in a very communal way. It doesn’t matter who brought something in initially; it all gets transformed by the band.