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- In most areas in our culture, fame and wealth are universally admired and respected, it doesn't matter what it took to get there. Patton rejects all of that. For a frontman, he's fairly comfortable being the center of attention, and he's not a self-promoter. He's certainly got the looks and talent to be famous, but he absolutely doesn't care about that. Maybe that's why he's won the respect of so many musicians. (en)
- Fame is like going to Las Vegas. And if you can't laugh first and foremost at yourself, then you are fucked. And when you are going through that, it's hilarious. (en)
- People are too concerned with theoretical knowledge. I think the important thing is to hear more. (en)
- I love music. Why limit yourself? (en)
- I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that. (en)
- [The major label's] world is not about doing what you can to keep the artist happy, it's not about music, it's about spend, spend, spend and get the band in debt and keep them drunk and compromise their art and that's that. ... One of the things you realize [by releasing albums independently] is, it's your money! So don't go to some expensive studio and hire some guy to hold your golf clubs, just make your fucking record and get the fuck out of there! [Whispering] You might make some money on your records! (en)
- [Kiedis, who] had still not forgiven [Mike] Patton for being a similarly pretty, long-haired singer who happened to be prettier, younger and sing better, managed to become totally irrelevant [by 1999], and then more popular than ever, thanks to musical vulture/magpie/compressor extraordinaire Rick Rubin. ... Not only was the [Patton's] third Mr. Bungle album delayed, but every festival appearance they'd been booked for at which the Chilis were also playing got cancelled at the behest of erstwhile bridge-lurker Kiedis. (en)
- [Patton's] ear is so finely tuned – [he is aware of] every single little thing [in the band], and nothing, nothing gets by him! ... And if [some members] fuck up one little thing, he's like, "Stop! ... There was one little thing here; do this, try this." And it's never mean, or yelling, or condescending, it's just in a creative musical way always. ... He's like Stevie Wonder, guys that just could play everything that's going on in a room, and they know everything. ... [The creative process] is so pure with him. (en)
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- —Patton on his motivation to start Ipecac Recordings, 2003 (en)
- —Fact, 2014 (en)
- —Mike Patton on his music, 2013 (en)
- —Mike Patton, 2002 (en)
- —Mike Patton, 2004 (en)
- —Mike Patton, 2015 (en)
- —Revolver, 2002 (en)
- —Scott Ian about working with Patton, 2020 (en)
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