Sharon Jones (Sharon Lafaye Jones) Quotes
Quotes to Explore
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It's an unfair comparison because when things are developed in the UK, they're developed at script stage only.
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I understand the desire to write and read about the death of publishing. It's a perversely and universally appealing topic.
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As a songwriter I hate this whole, 'If it's a sad song, it has to sound like a sad song thing.' And that goes all the way back to my days with the Format. I'm an insane narcissist, so if I have to get something off my chest, I'll get something off my chest.
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Every story I create, creates me. I write to create myself.
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I have breakups that I can credit to every song. In my twenties, I picked people who would create that dysfunction and drama, so I could draw upon it.
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I could not separate myself off stage from myself on stage, as so many actors can.
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I am always scared before going on stage; this is the fear which makes me do well.
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I like when the song starts to take over and you feel like you have to dance more than write.
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I've made sure that in any situation and with any record label, I'm allowed to write my own music.
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Sometimes the song title comes with the songs, other times you just sorta make something up afterwards.
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I write slowly.
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I wrote a techno song after I was deported. I was in America for a little bit, but then I was deported back to Germany. I was very sad.
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I think 12 songs is too much to listen to all at once. When I buy a record, I get to the fifth song, and then I don't get to really hear the rest of the record.
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After struggling for so long in the industry and writing so many failed songs and hearing 'no' for so long - I'm so grateful every time I hear a song that I was a part of on the radio.
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If you've got a good song, it's easy to play. But you can't make a bad song sound good no matter who you have to play on it.
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'Fix' was a song that definitely put me on the map and changed everything for in me my career. I'm really thankful for it.
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'Rock Bottom Riser' by Smog - I was just in Europe, and my jet lag never really went away. I wasn't sleeping very much. Then one night, my girlfriend saw a Bill Callahan show in L.A. and took a video of that song and sent it to me. I was just listening to it over and over - it was comforting.
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I wanted to write a song called '#1234' that would act as a homage to The Ramones.
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'TTM' started off being a feature. A producer wanted me to just hop on the beat, like a Diplo type of thing. When I recorded the song, I liked it a lot, and I figured, instead of them paying me to do this, I'd rather just use this for my project, and we can just get money together.
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When I hear somebody like Hayes Carll write a song that's touching and poignant and sad and funny all at the same time, it motivates me to step my game up and try to figure out a way to get more different emotions into one line or one song.
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I have even begun to think that I am caring for Argentina and Chile perhaps more than Argentines and Chileans. I feel like I'm sort of a de facto citizen, because I am looking after their national patrimony - which is the land - very carefully.
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The Washed Out thing happened really quickly, and I wasn't really actively promoting the songs. I didn't think of them as any more than demos, really, and it sort of became a thing on its own.
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I experienced a lot of spiritual growth when I started traveling to Europe and playing basketball. I saw that just because I was away from home didn't mean Jesus wasn't with me. He is everywhere and you can see signs of Him in the most remote places in the world through people who don't even speak your language. Jesus is universal.
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Some people can sit down and write a song, but they can't go on stage like I can.
