“I think the music of the Fifties is really good. I suspect it’s much better musically than much of what’s available now. Not in terms of production, but in terms of content. One good believable song about some guy’s girlfriend and how they broke up — a sincere one — is better than twenty albums of English rock that’s ever been produced.”

“The Taste of the Age”, p. 12
A Sad Heart at the Supermarket: Essays & Fables (1962)

Guestlist interview with Ria Talsania (10 July 2013) https://guestlist.net/article/9219/catching-up-with-basshunter
Calling Time

Letter to Paul Dukas (1901)
Context: I confess that I am no longer thinking in musical terms, or at least not much, even though I believe with all my heart that Music remains for all time the finest means of expression we have. It’s just that I find the actual pieces — whether they’re old or modern, which is in any case merely a matter of dates — so totally poverty-stricken, manifesting an inability to see beyond the work-table. They smell of the lamp, not of the sun. And then, overshadowing everything, there’s the desire to amaze one’s colleagues with arresting harmonies, quite unnecessary for the most part. In short, these days especially, music is devoid of emotional impact. I feel that, without descending to the level of the gossip column or the novel, it should be possible to solve the problem somehow. There’s no need either for music to make people think! … It would be enough if music could make people listen, despite themselves and despite their petty mundane troubles, and never mind if they’re incapable of expressing anything resembling an opinion. It would be enough if they could no longer recognize their own grey, dull faces, if they felt that for a moment they had been dreaming of an imaginary country, that’s to say, one that can’t be found on the map.

1990s, Schafer interview (1995)

Source: Century Rain (2004), Chapter 36 (p. 555)

On how artist expression can be a form of political activism in “A militant mellows” https://www.theguardian.com/music/2002/sep/28/artsfeatures.popandrock in The Guardian (27 Sep 2002)

1984
Context: On albums and commercialism: "For every album I’ve ever made, I’ve written many times more music than has actually been released, and the way I choose which music appears is almost totally random, but one thing I have never done is to make music for the sake of commercialism... I don’t think it’s possible to guarantee commercial success for an album anyway, because nobody really knows what is commercial and what isn’t. Even if I went out of my way to make an album that was more accessible to the public, that would not guarantee its commercial success".

Source: The Catcher in the Rye (1951), Chapter 15

Source: Anna Karenina