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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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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'You Should Be Here' came from a real place. I lost my father... it was right when I was getting my record deal. There's just been so many moments that he hasn't been here for. It's kind of the reason I wrote the song.
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My family was musical on both sides. My father’s family had a famous flautist and a classical pianist. My mother won a contest to be Shirley Temple’s double — she was the diva of the family. At 8, I learned how to play guitar. I used to play songs from the ‘20s, ‘30s and ‘40s in the kitchen for my grandmother.
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My mother had always taught me to write about my feelings instead of sharing really personal things with others, so I spent many evenings writing in my diary, eating everything in the kitchen and waiting for Mr. Wrong to call.
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Health is the thing that makes you feel that now is the best time of the year.
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The idea of taking a song, envisioning the overall sound in my head and then bringing the arrangement to life in the studio...well, that gives me satisfaction like nothing else.
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Some people can sit down and write a song, but they can't go on stage like I can.
