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The Rolling Stones are violence. Their music penetrates the raw nerve endings of their listeners and finds its way into the groove marked 'release of frustration.'

Jon Landau

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Jon Landau
Age: 77
Born: 1947
Born: May 14
Composer
Journalist
Music Critic
Record Producer
Talent Manager
the United States of America
Music
Listeners
Way
Rolling
Nerves
Penetrates
Frustration
Groove
Finds
Endings
Release
Nerve
Stones
Marked
Violence
Penetrate

More quotes by Jon Landau

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While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.
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Often, equipment can as easily function as a security blanket for musicians unwilling or unable to risk anything personal in the studio. Whether one catches the feeling on a record is a subjective matter. How can you be sure? The machinery can hold out the promise of at least mechanical perfection.
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As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.
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What makes the Stones' arrogance so divine is that we all believe that long ago and far away they weren't rich and famous but poor and struggling, just like us.
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Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
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'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
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There is something complete about Stevie Wonder, and one senses that he is not only exceptionally important today, but will continue to be for as long as he chooses.
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Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.
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Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.
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There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.
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Elton John himself never seems pretentious but Bernie Taupin's lyrics often do - sometimes pretentious in a clever sort of way, but pretentious nonetheless. There is a conflict between Elton's and Bernie's personal styles, no doubt about it.
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The Rolling Stones are constantly changing, but beneath the changes they remain the most formal of rock bands. Their successive releases have been continuous extensions of their approach, not radical redefinitions, as has so often been the case with the Beatles.
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On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light by the third or fourth listening, it reveals its underlying tensions.
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The Beatles never sounded intimidated by their idols. They never interpreted old rock they simply played it as well and as joyfully as they knew how. On 'Rock 'n' Roll,' John Lennon does nothing but interpret old rock.
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To her audience, Janis Joplin has remained a symbol, artifact and reminder of late Sixties youth culture. Her popularity never derived from her musical ability, but from her capacity to link her fantasies of freedom and immortality with ours.
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Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.
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'Call Me' is not an exceptional Al Green album, but it is as solid as a rock at its center.
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I saw my rock'n'roll past flash before my eyes. And I saw something else: I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.
Jon Landau
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The title song of David Bowie's 'Young Americans' is one of his handful of classics, a bizarre mixture of social comment, run-on lyric style, English pop and American soul.
Jon Landau
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Since her landmark 'Tapestry,' Carole King has both oversimplified and over elaborated that masterful album's style until her music has become something more overtly but less effectively personal.
Jon Landau