Adam Schlesinger Quotes
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Cheap Trick has played with every band on the planet.
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The Ting Tings have been a huge hit in my family. I have two young daughters, and both of them love that record, so I pretty much have to listen to that ten times a day.
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I think people sometimes confuse 'catchy' with something that should automatically be a hit in today's world. I mean, obviously we write a lot of stuff that's catchy, that sticks in your head. But that doesn't necessarily mean that middle-school kids are going to want to listen to a song about a lawyer or a Subaru or whatever.
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I usually start with a lyric and see where that takes me.
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With Fountains of Wayne, after 'Stacy's Mom' happened, we started making a little bit more money and getting a little bit more known.
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A song sometimes ends up with its own internal logic.
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Andy Chase and I were keyboard players originally, and we became guitarists later. But it's fun for us to focus more on the keyboard stuff sometimes.
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I like switching gears. I'm kind of a chameleon.
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In promotional mode, every day is a series of decisions. You can easily fill up your day with checklist stuff.
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Scotland is a picturesque country where the people are friendly yet completely incomprehensible. Also, the national delicacy is a sheep's stomach filled with its liver, lungs, and heart.
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Saxon, if you are unfamiliar, is a British heavy-metal band that has been around since the mid-'70s and was in no small part the inspiration for Spinal Tap.
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I think when we were starting out, it was more about imitating our songwriting heroes. We would try to write songs like Neil Finn, or we would try to write songs like Ray Davies, or we would try to write songs like Glenn Tilbrook.
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One of the more surreal days I've ever had in the recording studio was Martin Fry teaching Hugh Grant his old dance moves. Showing him how to do the hair-flip and the point, and all these sort of trademark moves of his.
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What should a song be about? It's a trick question for songwriters because lots of amazing songs aren't 'about' anything. Or, at least, they're not about anything that's obvious or logical.
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Most of the jobs I've gotten are from people calling me. I don't actively solicit a lot of work like that, but maybe I should.
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I tend to write songs that are about something pretty specific. A lot of them tell some kind of little made-up story.
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It would probably be better if I got involved in fewer things just because I'd have more time to write for my own purposes... But if somebody calls you up with a really cool project, it's hard to just say 'no' because you don't feel like working.
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The Cleveland Cavaliers are forced to play in something called the 'Quicken Loans Arena.' This is a terrible name for a sports venue.
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Your job as a producer is to make suggestions without putting your ego in front of everything else. Also, I think you want to focus on that artist's best qualities and really highlight them.
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I think I initially started inventing characters in my songs because I didn't want to write directly about myself. Also, as a kid, I loved all the character names in Beatles songs, like Eleanor Rigby and Lovely Rita and Mean Mr. Mustard and Maxwell and Rocky Raccoon.
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I think one of the pitfalls of doing your own music is that sometimes you can never be satisfied with it: you're afraid to say that it's done, and you keep reworking it or re-recording it or re-writing it.
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I started taking piano lessons when I was about 5, and there was always a lot of music in my family: my parents both play instruments, my grandparents were classical violinists, and my grandfather was actually a music professor and a conductor.
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I generally prefer to come in to the studio with a fully written song and then work on the arrangement with the band. Sometimes even the arrangements are pretty much already worked out in my head, but other times we experiment.
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The nature of the music business is such that it's better to have a few chances for some things to be successful than just one, and that's kind of been my attitude all along.