Nick Lowe Quotes
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I'm very interested in religion and different religions, and I know quite a lot about it. I love gospel music, and I love going to churches, but the one drawback is that I don't actually believe in God. And it is quite a handicap, you know.
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It's like a little folk song. I think it might've been Harry Belafonte or someone like that who did it. And "Merry Christmas, Everybody" by Slade, which is a rock group - a rock-pop group who are very big over there.
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I've always felt quite like an outsider. I don't really belong in the mainstream, and I quite like that.
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I'm still kind of a hapless character in my everyday life. But when it comes to the writing, my influences are very old influences. I love American music of absolutely all stripes, including show tunes, advertising jingles, theme tunes from quiz shows, all kinds of American music.
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I use the name and the thought very, very easily as a sort of comfort - as a kind of comfort, in some way. And in that way, it's just like having a friend, I suppose.
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But anyway, I was convinced that it would go away, you know. But the idea was that he was sitting on a flight - you know, one of those sort of fairly long flights, like, sort of, you know, Newark to Denver or something like that - so, you know, a few hours.
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You've got to really know your song, inside and out.
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When my pop career was over, I was scratching my head, thinking, "God, how am I going to do something after I'm forty?" I was in my mid-thirties, thinking I was on the scrap heap.
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The older I get, the more I think it's this listening. You listen for it, and you have a bit of patience. And it'll come until it sounds - to me, the best songs I've written, I think, are ones that I can't hear anything - any of myself in it. It sounds like a cover song, like somebody else's song - really something you've stolen wholesale off a radio that you've listened to in someone else's flat.
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And after, you know, having the old chicken or whatever it is they bring around and a couple of cocktails, you turn to the person sitting next to you and say, you know, you going home, then?
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It was the 1950s, you know, and they had a ray gun, which was basically a flashlight with a sort of trigger on it. And it buzzed and a red light, you know, came on. But anyway we all had one - Davy Crockett hat.
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I mean, the way I'm talking, it sounds like I'm - you know, I'm about to go out and sign up for the nearest seminary, and you'll never see or hear from me again. But it's a hard thing to talk about really 'cause I'm not at all sure myself about it. But I've got a very, very simple sort of outlook to it. Yeah, that's all I can say, really.
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I think the best songs that come to me are ones that you sort of listen for. The ones - when I listen to some of my old stuff, I can tell when I had a good idea, but I forced it through, and I can hear myself - the bit that I've written, which sounds clunkier than the stuff that just sort of comes.
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Going to Nashville to meet the in-laws was the first time when I'd been in America and not been seen as some sort of eccentric character with a cute accent.
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Elvis Costello had a brand new bag. He was a musician, but he knew all about the attitude part of it.
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To a certain extent, yes, we do. But there's - but there's a very limited menu. There's only about sort of 20 songs that you hear on rotation.
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These days, rock 'n' roll is much more about rock than about roll. I don't do rock. But I'm interested in that roll part, because that's the funny little bit that makes it hip.
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Be a military flier or be in a band; those were the two hippest things I could imagine.
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You want to sing this song. And so it goes on until eventually, after - well, however long it can take - sometimes a few days, sometimes months - you piece the whole thing together.
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I sort of have various sort of theories when people ask me about songwriting because it is a mystery. You don't really know. Sometimes you can do it and sometimes you can't. It's really peculiar.
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As long as my body holds out, I'll be grooving when I'm 70, and not some sort of horrible spectacle.
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You know, where have you - what have you been doing? You know, and you find yourself sitting next to Jesus, and he's rather an agreeable man. And you have an opportunity to say, so what went down then, you know, that night? And it's supposed to be like him just sort of telling you very conversationally. That was the idea I had. Whether it - whether it comes - came off or not, I don't know.
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My latest theory is that it's - well, I describe it as, like, being in an apartment with kind of thin walls. And in the apartment next door, they've got a radio tuned constantly on - tuned to a really cool radio station. It's on all the time. And you can just hear it coming through the wall all the time.
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I work very hard on getting the songs as direct and examined as I can before I go in the studio.