Top 45 Quotes & Sayings by Colin Greenwood

Explore popular quotes and sayings by a British musician Colin Greenwood.
Colin Greenwood

Colin Charles Greenwood is an English musician and the bassist for the alternative rock band Radiohead. Along with his younger brother, Radiohead guitarist Jonny Greenwood, Greenwood attended Abingdon School in Abingdon, England, where he met the future band members. Radiohead have since achieved critical acclaim and have sold over 30 million albums. Along with bass guitar, Greenwood plays upright bass and electronic instruments.

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Absence Admit Aggregate Album Alcohol Anymore Apologizing Approach Approaches Backing Hide All Backing Up Band Bands Bass Bigger Biggest Biggest Problem Bill Books Brother Bump Bureaucracy Bush Cardinal Cases Center Cents Century Certainty Chair Classical Classical Guitar Coltrane Composition Computer Computers Concerned Concert Conclusion Conditional Constant Control Controls Convicted Cool Create Crime Curate Curvy Demands Different Ways Differently Difficult Dollars Domestic Domestic Violence Drummer Editing Effect Efficient Emotional Emotional Response Ended Error Escape Evenings Extend Fascinating Favourite Feels Feminine Figures Find Finding Firearms Focus Forced Format Full Generator George George Bush Ghost Good Good Thing Greater Group Guitar Guitarist Half Half A Century Hate Head Hear Horrible Human I Hate Idiot Importance Important Informed Injuries Innovation Inspiration Interested Internet Interviews Irrespective Issues Jazz Jazz Music Jazz Musician Junk Keyboard Kind Lessons Limits Listen Loads Long Lost Love Lunatic Machine Make Mass Matter Matters Melody Michael Mistake Modern Mother Motion Motion Picture Moving Music Musical Musicians My Brother New Things Nice No Point Noise Nostalgic Notes Object Occasionally Older Outcome Page Passion People Person Personal Phil Piano Piano Lesson Piano Lessons Picture Pistols Play Played Playing Point Presence Pressures Problem Punishment Putting Quickly Radiohead Read Real Realize Really Cool Really Nice Record Recording Records Rehearse Release Repeated Repetition Response Responsibility Responsive Restriction Reverence Riff Rock Rule Separate Sharing Sheer Show Shows Singing Site Smith Social Social Responsibility Sort Sounds Soundtrack Spend Startling Station Step Strict Stuck Studio Succeed Successful Suggested Suit Takes Taking Technological Tend Terms Texture Textures Thing Things Thinks Thousands Thousands Of People Time Tone Tools Trained Treat Trick Two Years Two Years Ago Type Underground Version Very Nice Violence Volume Wanted Warm Warp Ways Weapon Website Wonderful Wonderful Thing Working Works Wrong Years Years Ago Less More Hide All See All
You should approach a sequencer like you would a Dobro guitar.
The trick with computers I think, is to approach old and new things with the same reverence as you would like your favourite chair and not be seduced by the constant innovation otherwise you never do anything.
I'm going to have classical piano lessons next. — © Colin Greenwood
I'm going to have classical piano lessons next.
With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.
I don't listen to much modern composition.
When we rehearse, we're always trying to aim for something else. But we never quite succeed in getting there.
We try to treat everywhere we play differently and that's really important.
You should approach technological things in a nostalgic way.
Limits are very important.
One of the books we read a few years ago that had a big effect on us was Repeated Takes by Michael Chanan.
The guitar is a much more efficient machine than a computer. More responsive.
In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians. — © Colin Greenwood
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
I don't think anything's underground anymore. And I think that's a good thing. Everything is up for grabs.
Our site should be like Paddington Station with a much better version of WH Smith's in it.
For me that's what's fascinating about the internet, that aggregate thing.
We are kind of one step removed, not really in the center of things.
In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.
If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.
With our website we didn't want people to come to our site and find out about Radiohead. We wanted them to come to our site and find out about what Radiohead are finding out about.
Warp was important to Thom about two years ago when he was looking for different sounds.
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
I mean, I'm in a band, we're reasonably successful, I've got a very nice suit - I'm not even a bad person- so why can't I get a shag?
The thing about rock is that people are not just interested in bands because of where they want to go. It's where they want to escape from that matters.
Phil is a real drummer's drummer.
People need to focus on bigger issues instead of whether George Bush is an idiot or not.
I trained as a classical guitarist but that was it.
Jonny doesn't want to do TV interviews because he thinks that he comes across as an idiot.
It's a full on job just looking for human social responsibility.
I've seen the Mass For The End Of Time in concert but my brother's the more musical one really.
There's no point apologizing about where you come from. — © Colin Greenwood
There's no point apologizing about where you come from.
My page is junk, because I hate putting anything to do with me on the site, it just feels wrong.
Motion Picture Soundtrack on Kid A was another Coltrane inspiration.
Bill Withers and Curtis Mayfield, those are the people who informed me in playing the bass.
It takes so long to make a record and then it takes so long again to release it.
It is suggested that in domestic violence at least the presence or absence of a firearm, or of any other type of weapon, is of far less importance to the outcome than the passion generated in the attacker. The man who has lost control will cause serious injuries in many cases, quite irrespective of the weapon he uses and regardless of the certainty of detections and punishment.
That's why I love playing shows, you've got thousands of people sharing their personal passion for the music with each other, it's such a wonderful thing to be able to curate.
Occasionally I play the music for my mother when she demands to hear it and she always just says, 'Who is that singing? I don't like the singing.' And then she says 'Who's doing all that bumpety-bump noise?' It's all noise backing up horrible singing as far as she's concerned. She's not a show-biz mother.
I think the biggest problem we have is taking too long over things. Not in terms of getting it right, but sometimes we do things quickly that are really good.
It would be really nice to be able to put out releases that wouldn't be conditional upon an album format, and just put out music in different ways.
No matter how one approaches the figures, one is forced to the rather startling conclusion that the use of firearms in crime was very much less when there were no controls of any sort and when anyone, convicted criminal or lunatic, could buy any type of firearm without restriction. Half a century of strict controls on pistols has ended, perversely, with a far greater use of this weapon in crime than ever before.
To be able to play and get loads of people together is really cool. — © Colin Greenwood
To be able to play and get loads of people together is really cool.
As you get older you realize how important your emotional response is to any kind of music.
A cardinal rule of bureaucracy is that it is better to extend an error than to admit a mistake.
I tend to play better in the studio, no pressures, just sheer volume and alcohol.
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