Dave Koz Quotes
I love a lot of the young, new artists who are coming up, including Adele. I suppose anybody would freak out to work with her. To be able to play a saxophone solo on one of her songs would be the most ultimate thing ever.
Quotes to Explore
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I knew I didn't want to make a country record just because that's not really what I would have ever made as a solo artist.
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The worst thing that being an artist could do to you would be that it would make you slightly unhappy constantly.
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If at noon you sit down and there's just silence or blank tape, in an hour if you have a song, that didn't exist an hour ago. Now it exists and it might exist for a long time. There's something empowering about that.
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I wouldn't want to cover a Hank Williams song in a country-western way. It doesn't occur to me instinctually to re-create productions. I'm interested in re-creating songs. Putting different clothes on them.
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With technology now, you can go in and sing a song, and for $100,000, you will sound flawless.
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There are no rules to writing a song.
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'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.
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One way in which 'Friends' did resemble 'Seinfeld' is that it really found its audience over the summer of 1995 in reruns. That's when the main title song, 'I'll Be There for You', by the Rembrandts, exploded, too.
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That's my favorite part about songwriting, the way you write a song, and someone else might hear it a different way.
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If you asked me to sing a modern song, I wouldn't be able to - I can't easily slip into that groove. But if it were a song by Nico or The Velvet Underground, fine.
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To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
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I knew I wanted to be an artist, but I didn't really know what it was I wanted to say.
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If any artist abuses his audience as a means to any end, noble or ignoble, he better have a damn good reason for it.
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I'd like to do a completely off-the-wall collaboration. I would like one of my songs to be the hook to a rap song. That would be so much fun!
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I made a point when I made the Ugly Casanova record to not write a song and then say, 'This is a Modest Mouse song' or 'This is an Ugly Casanova song.' The people who were open to it not being a Modest Mouse record liked it.
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As a songwriter you have an umbilical cord to the song and it's hard to expand on your understanding of the lyrics. Whereas when you cover a song you can create your own reason why you're attached to it.
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To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.
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We wanted to write a whole song about partying and then taking Yellow Cabs home. That's the weirdest topic we've ever thought of centering a song around.
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Somebody described it to me the best as when you go in to write a song with two people that you've never met, you're pretty much going in and taking off your pants in front of strangers, so it's a really weird feeling.
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There's nothing like a music festival. People are ready to have a good time. I don't think anyone comes to a festival going, 'I'm gonna be a complete bummer today.'
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My parents were immigrants who started a nursery as a way to get us kids through school. I learned around the dinner table about customer service and cash flow and paying bills.
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I love a lot of the young, new artists who are coming up, including Adele. I suppose anybody would freak out to work with her. To be able to play a saxophone solo on one of her songs would be the most ultimate thing ever.
