Best 38 quotes of Aimee Mann on MyQuotes

All that I need now is someone with the brains and the know-how to tell me what I want.

Anybody who cares less about wanting to be cool, I think, is more interesting.

At a major label you can start to feel that you're working for them, and that any work you do, you're never going to see any benefit.

Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.

But I can't confront the doubts I have. I can't admit that maybe the past was bad, and so, for the sake of momentum I'm condemning the future to death so it can match the past.

Everybody kind of understands, Oh yeah you take drugs and it does something to your brain and then you can't stop. It's easier to describe that shame, that horrible feeling of not being able to control your own life.

Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.

For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.

I don't believe in asking people to spend $15 on something they've never heard before. That's just unreasonable.

I don't consider myself a great writer, but I would like to think that I can at least proof- read.

I don't envy anybody trying to start a career right. There really is no music business left, in a lot of ways.

If you're an artist trying to put out your own record on your own label, it's hard to get a distribution deal because no one wants to sign a deal with one entity. They want to sign distribution deals with labels, who have lots of product, lots of artists.

If your standards are low, you're going to stop pretty early on in the process.

I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.

I'm really into boxing. I go to a gym and I'm friends with a trainer who's a pretty famous boxing trainer and I train with him.

I'm selling more records on my own than I did on major labels.

In the '70s, everybody thought drugs were just good times. People didn't really know about drug addiction, or that such a thing existed. When I grew up in the '70s I thought you had to take drugs. It was almost like I didn't think you had a choice.

I probably would've kept slogging on that same chord change, because there's a tendency to have that happen. You get into the cadence in your mind, and it's hard to make the kind of left turn that you probably need to keep it really interesting.

I think, to be happy is to be interested and engaged.

I thought everything was interesting. I wanted to go scuba diving and I wanted to learn how to surf. Because I grew up in the 60s girls were not allowed to do anything. As I've gotten older and realized that women can do things like that I thought, 'Why not? Now's the time.'

It's funny, because my last record was a lot about isolation and people living in separate worlds that other people can't even understand, which drug addiction is the perfect negative example of.

It's in the dictionary. And when I find what it is, I'll write it down in case it comes up again, I'll be certain to avoid it.

It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.

It's not easy in this phosphorescent gloom telling waking dreams apart anyhow.

I wanted to try to write songs on the piano to get a different flavor.

Knowing record labels and knowing the kinds of things they would object to-they just object to everything that's interesting.

Life is a series of problems to figure out how to solve gracefully and with dignity. That is what life is and I can't see it any other way.

Nightly you retrace your steps again to return to the scene of the crime. It's uncanny how you hover in the air of the wreckage that you left behind.

One of the things I've really gotten past in the last couple of years is the idea of being made uncomfortable by the way things appear, rather than how things are. Clearly in this business you have to contend with a lot of that.

Save me from the ranks of the freaks who suspect they can never love anyone.

Something gets lost when you translate. It's hard to keep straight. Perspective is every thing.

The king of the jailhouse and the queen of the road think sharing the burden will lighten the load.

The moth don't care when he sees the flame He might get burned, but he's in the game And once he's in, he can't go back He'll beat his wings till he burns them black No, the moth don't care when he sees the flame The moth don't care if the flame is real 'Cause flame and moth got a sweetheart deal And nothing fuels a good flirtation Like need and anger and desperation No, the moth don't care if the flame is real.

There's a lot of music that sounds like it's literally computer-generated, totally divorced from a guy sitting down at an instrument.

What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.

When things are really great, it just means everything's in it's place.

You drew a bird that was here, a kind of sweet chanticleer. But with a terrible fear that the cage couldn't tame

You know what, the drummer is my manager. He's busy. And I'm busy. I don't need the dough, though. But having said that, there's a limit to how much bad music I wanna play. I did it when I was young, and some of the music was OK, but it wasn't great.