"I'm sure if we had made an album that was more traditional would have been released immediately. When we actually play this music on stage and people become familiar with it, it will become more popular"
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There is a particular musician's irritation baked into Mick Taylor's certainty here: the idea that the gatekeepers who decide what gets released are less interested in music than in legibility. "Traditional" isn't just a genre marker; it's code for market-safe, easily categorized, and therefore easy to sell. Taylor frames delay as a punishment for deviating from a template, implying an industry that rewards familiarity over risk and treats innovation as a logistical problem.
The subtext is a quiet power play. He concedes that the album isn't immediately accessible, then flips that into a strategy: if the label won't validate the work, the audience will. "When we actually play this music on stage" positions live performance as proof-of-concept and as a bypass around corporate hesitation. It's a reminder that rock legitimacy has always been earned in rooms where songs get tested in real time, not in conference calls. He's betting on embodiment: the arrangement that feels abstract on record can suddenly make sense when you see hands moving, hear volume in your chest, watch a band commit.
There's also a subtle defense of artistic growth. Taylor isn't apologizing for experimentation; he's arguing that popularity can be taught, that taste is something people acquire through exposure. The line reads like a forecast and a dare: give it time, let the crowd catch up, and the so-called "difficult" music becomes the new normal.
The subtext is a quiet power play. He concedes that the album isn't immediately accessible, then flips that into a strategy: if the label won't validate the work, the audience will. "When we actually play this music on stage" positions live performance as proof-of-concept and as a bypass around corporate hesitation. It's a reminder that rock legitimacy has always been earned in rooms where songs get tested in real time, not in conference calls. He's betting on embodiment: the arrangement that feels abstract on record can suddenly make sense when you see hands moving, hear volume in your chest, watch a band commit.
There's also a subtle defense of artistic growth. Taylor isn't apologizing for experimentation; he's arguing that popularity can be taught, that taste is something people acquire through exposure. The line reads like a forecast and a dare: give it time, let the crowd catch up, and the so-called "difficult" music becomes the new normal.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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