“They bend to each other, you know, its not like they like fuckin', beat each other over the head, its like 'oh, hear I come; wenenenenenen or chachachachacha' you know, they bend to each other, and they compromise, you know. And it makes for a good guitar relationship I suppose, you know. So Willie brings in the riff, and hes like 'jejejejeje', and Mark is like 'Oh, psh, wenenenenenen', and like, and you can see it happen dude, physically see it happen, like, they're melding, like Vulcans or something, like 'mind melding', I don't know, you know. I've learned a lot about music from watching those guys, by how different they are, and how they complement each other.”
On the writing process of Mark Morton and Wille Adler, the guitarists of Lamb of God.
Making of Sacrament DVD
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Randy Blythe 5
American musician 1971Related quotes
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Context: You know, whenever you do something new and original, people run to see it because it's different. Then, if it happens to be successful, the studios rush to imitate it. It becomes commonplace right away. But it's been like that before, I think. Now, the stakes are so gigantic that they cut each other's throats. So if most of the films are failures, then those that succeed so spectacularly, so commercially, become the norm. It's like a roulette for the studios. The problem with it is that it becomes more and more of a committee. Before, you dealt with the studio. It had one or two persons and now you have masses of executives who have to justify their existence and write so-called "creative notes" and have creative meetings. They obsess about the word creative probably because they aren't.
“Oh, come on, you've got to use your flow.
You know what it's like, and you know you want to go.”
Song lyrics, Lionheart (1978)
Context: Oh, come on, you've got to use your flow.
You know what it's like, and you know you want to go.
Don't drive too slowly.
Don't put your blues where your shoes should be.
Don't put your foot on the heartbrake.