Songs Quotes
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I think it's just that Skynyrd songs are timeless.
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The first two songs that I wrote, produced and demoed with my voice on it was that song and then Akon's "Sorry, Blame It On Me." The first two demos I ever wrote and demoed, the two biggest artists at the time took them.
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I don't mind doing two or three Eagles songs and playing the drums. I'm not one of those artists who's going to sit here and deny the past.
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I think Queen songs are pure escapism, like going to see a good film.
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I write poems for myself and I write poetry that gets torn apart and becomes songs. I have a lot of respect for words, the power of words.
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Songs are like a form of chaos that you can control. It's a form of intelligence that maybe you only understand and you hope that someone else can understand. And you can be anyone you want: you can be as grandiose as you want or you can be as down in the gutter as you want. It's just sort of whatever emotional freeway you're on at the time.
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I was a little disappointed. They should have played more of those great songs from the first couple of albums.
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On the first few albums the songs would grow into strange shapes.
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I loved the culture of the youth ministry. It was exciting and there were lots of young people, and they were just excited about God. We had this thought that we wanted to write songs that our friends and the people in our youth ministry would love to sing and would love to use to draw near to God, and that’s basically how it all got started.
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I've always been in bands writing songs with friends in order to play shows or record a future record.
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I was surrounded by music in my family, surrounded by people who sang songs - every single person I knew as a child growing up had one, two, three songs they knew from start to finish.
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...I begin with songs. They provide a sort of skeleton grammar for me to flesh out. Songs of longing for future tense, songs of regret for past tense, and songs of love for present tense.
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I want to do some different kind of songs, but say I want to do riffs, but I don't come up with any riffs that I really think are great. Then I can't do a riff album. I'm more of a song, melody person.
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In order for me to write, I have to experience life. I write the songs based on real life, and I perform them from a very real place.
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When I start writing songs, and they come easily, I'm always very suspicious. That usually means they're reminding me of something I've already done before. When the songs become unsettling, and I feel anxious about what I'm doing, that usually means it's going to be more interesting later on when we actually record the stuff.
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One of the most harmful things in the music industry is 'record-by-committee,' where 10 people from the label gather around, and they make you write a 100 songs and decide which one's a hit. That takes the inspiration out of it.
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I can go from doing an electronic track to hip-hop to even folk songs. I think people like that variety in me.
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The strongest and sweetest songs yet remain to be sung.
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The songs worked as a different kind of rhetoric, one that could reach the fence-sitters.
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My voice makes the genre because I sound like me on all my songs - I've made my own genre: Jorja Smith.
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You become acutely aware, if you're touring a lot, that you need new songs to invigorate the live show. And make it interesting for yourself, too.
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My original intention was to use it just for improvised, soundscape-y stuff, but I ended up falling in love with it. So I put it on a lot of the songs. It's not anything that I'm proficient on, but in the studio, if I spend a day working it, I can shimmy my way around.
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I would have to work on the song and figure out how they wanted the song done, because they're such high-intensity songs. We figure that out first, then I go back and listen to it and go over and rehearse stuff with it and try to get a feel for the words.
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All my songs mean something to me.
