Steve Forbert (Samuel Stephen "Steve" Forbert) Quotes
Quotes to Explore
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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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'Make You Miss Me' is an important song to me. Having it go No. 1 as the fifth single off of my first record is the cherry on top of a chapter in my life I'll never forget.
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I wrote my first song when I was six or seven, a silly little song. But I used to write poems in high school - not songs.
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A lot of my friends send me Snapchats of when they're in the club, and they're like, 'It's your song!'
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From the stage, I can reach a large audience, and you learn from being on stage how much a song reaches, what extent of the crowd a song can reach. I write in a way that can reach most of the audience, but I also wanted to have truly intimate moments as well, many intimate moments, more so than the big moments.
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Personal relationships are usually my biggest inspirations for writing my songs. The best way for me to write a song is to visualise the story in my head, and I start humming a melody, and before you know it, a song is born.
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Music's always been really cathartic. It's the best drug for me to get away from the everyday pressures just for a second via a good song.
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There are few cases in which mere popularity should be considered a proper test of merit; but the case of song-writing is, I think, one of the few.
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I've had writing sessions with people, but I've never had one where you're just there, and you start making a song, and then it's too good to be true that something really cool will come out of this.
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If you have a song that you think sounds like another song you should contact the publishing company and say I have a song here, let's cut a deal that lets everyone walk away feeling good.
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What you hear about the band is always going to be more disturbing than any particular song.
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You hear ten seconds of a song, and you know it's OutKast. There's a strangeness about it because it's catchy, but it's not just pop for the sake of pop. They're pushing the envelope.
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I made a decision when I started writing 'All is Song' to take the compliments I had for 'The Wilderness' and try to be confident and not overwhelmed by it.
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Everyone needs a theme song! It should make you feel like a million dollars.
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Strangely enough, when the Sugababes' 'Freak Like Me' went to number 1, which was built around my 'Are 'Friends' Electric' song, I had another song called 'Rip' go to number 1 in the Kerrang TV chart, so I was pulling new people in from very different areas of musical interest. That was quite an amazing week.
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I think sometimes you are born with a song.
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If you can make the song a soundtrack to what you're living at the time, I think that's the most important part of a song.
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The one album I can't live without is called 'Cumbolo' by a band called Culture. Every song on their album is deep, but there's one in particular called 'This Train.' I have a tattoo of the lyrics on my left arm.
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I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or 'Sherry,' I should be able to do that. Or a Dylan song.
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It excites me when a person puts their whole self in a song or rhyme, or instrument. It fills me.
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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 never talk about my wife: we're both in public professions but we try to keep our private life private.
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One of the things I did early on in film was over-enunciate and talk too loud.
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You have a song, and people know it. It's like a calling card for you.
