Adam Schlesinger Quotes
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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.
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With the TV stuff, we usually hand in final, finished tracks. The turnaround time is so tight that there's no time to demo anything; you just do it.
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As a writer, I find it very satisfying when a lyric suddenly ties together more neatly than you expected it to. But for the listener, hearing a good lyric is not generally as exciting as hearing a great beat or a great riff or a great melody or even a distinctive singing voice for the first time.
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London is a vast, complex city designed by the same guy who created the Habitrail.
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For me, it's just more satisfying when you follow the rules rather than just make a bunch of sounds. The magic of just making noise in the studio goes away after a while.
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I just try to tell a story rather than present an open diary to the world.
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It's always been my philosophy to keep a lot of balls in the air. With music, most things don't pan out, so you try to increase your odds by being involved with a million things at once.
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We were called 'Three Men Who, When Standing Side by Side, Have a Wingspan of Over Twelve Feet.' We had that name for a week or so. We were also called 'Are You My Mother?' for awhile. We went through a lot of really dumb band names - almost as dumb as Fountains of Wayne.
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I always have to be thinking about who's going to be singing this song, what the context is. I don't sit around just writing in a vacuum, ever.
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I'm not comfortable as a lead singer. Maybe I could do it in the studio, but I wouldn't have the confidence to play shows.
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I had a job transcribing a biotechnology-litigation seminar. You put headphones on and fast-forward and stop with your feet. There were a lot of 'um's.'
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Really, music is what I'm interested in, and the lyric part of it came from just having to have something to sing.
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Most of your day is spent working, and being in a band is no different. We're just business travelers in a way.
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Making your own records is really satisfying in the sense that you more or less get to do what you want. It may not sell or whatever, but on an artistic level, the only people that you really have to fight with are the people in your own band.
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I think with musicals, it's much more part of the script. They don't want songs that would stop the show; they need songs that keep the plot moving.
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If you're sitting in a place like Martha's Vineyard, I don't think you're going to write a song about a ski resort.
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Every year, there's some band that plays guitar-oriented pop music that has a single, but for the most part, it's kind of relegated to the sidelines.
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I think in most cases, when you're writing a song, you're just making up a little story, and you're not really thinking about making a point one way or another about it. You're just coming up with a little scenario and seeing it through, and that's it.
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I'm just like anybody else: I have stuff to do in the day, whether that's writing a song or recording a song. I try to treat everything I do as just work.
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Bands like R.E.M. and even The Replacements, during that initial wave of college rock, would sell 40, 50, 100,000 copies of a record, and that would be seen as extremely successful - and definitely enough to keep doing more.
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The truth is that I don't work any harder than anyone else in the world. I don't work 18-hour days. I don't stay up until 4 in the morning trying to finish a line.
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With Fountains Of Wayne, I almost always start with lyrics - maybe not the entire lyric, but I almost always need a couplet or something, and then I work from there. With Ivy, it's much more about the atmosphere and the vibe.
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I've never really had the desire to be a front person or a solo artist. I don't really create that much of a hierarchy in my mind.
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In the '80s, they were using an awful lot of technology but hadn't really figured out how it worked yet... You had these really great, simple pop songs turned into these gigantic overproductions.