Songs Quotes
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It's fun to take songs from a completely different context and reframe them. We did two mixtape albums called 'Other People's Heartache' and 'Other People's Heartache Pt. 2,' which were full of those kind of covers and mash-ups, mixed with film music and film quotes.
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Everything I do is about setting up for the next. I think that my confidence and belief in myself as well as the music and trusting my judgment of my songs really grew the most.
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Andrew Ridgeley and I had demoed a couple of our songs very cheaply, and we weren't expecting any kind of record deal. We just walked around with our demo tape, trying to find someone to give us the money to demo properly. Instead of that, we got a record contract. It was just an incredibly lucky break.
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I write simple songs, and people like that. They're mature enough to appeal to people who aren't teenage girls. Most of my fans are older, and it's nice to think the songs can appeal to middle-aged men and women.
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People are always surprised to find this out, but the songs that we write, such as 'Winner of a Losing Game' and things like that, tend to be more country than the other stuff that we cut from outside writers.
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We've always been trying to climb this ladder that leans so hard on our own idea of what our big songs are. We realized recently that we're not a band with big songs.
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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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When slow songs do play, people joke that you should be able to fit "the standard works" between you and your partner. The standard works is a Mormon term referring to all of the religious books we study. So when you're slow dancing, the Old Testament, New Testament, The Book of Mormon, Doctrine and Covenants, and Pearl of Great Price should be able to fit in the space between you and your dance partner -- or you're dancing too close.
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It seems to be really trendy to get excited about a random-ass radio song. Which, I like radio songs, don't get me wrong. But I'm just confused at which ones seem to be heralded as some sort of genius-like concoction. It doesn't totally make sense to me.
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People like to say their songs are like children, but you gotta get those kids out there so they can make some money and pay the rent.
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You don't always get lucky enough to have songs that can breathe and shift meaning. But every once in a while you open up a window and something passes through. It's really nice for me when I discover those songs in my catalogue. It's one of the reasons I try not to get too specific about what my songs mean.
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In fact, after Donald Trump won, some of the relief of finishing record was to turn off all the politics for a while. There were some songs that had more of the political stuff that we just decided to wait on and put aside. A few weeks after the election, I stopped watching cable news and just unplugged. My way of dealing with the new situation we're in was to just work on something that I care about.
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Radio in the U.K. is so formulaic. You've got commercial stations who play the same 20 songs all day.
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I usually like to make really dramatic songs that are dynamic from part to part - a lot of jumping from really quiet to really loud.
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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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Winnowing is more like a trip to the confessional...transparent & vulnerable without being sentimental. These songs have elements that are more like prayers & pleas for faith. They're questionings and wrangling in the dark about the journey.
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Being a kid myself, I loved playing and I loved playing with words, and making up things and riddles and songs and not afraid of being silly in public.
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As a producer you can be more objective about the songs because you didn't write them.
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Taken together, our songs are like a mural of our lives.
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As I get older, I don't aggressively pursue songs. All the great ones just appear.
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When I write the music for any of my songs, I write as a composer-lyricist in my head.
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I started being me about the songs, not writing objectively, but subjectively. I think it was Dylan who helped me realize that - not by any discussion or anything, but by hearing his work.
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My goal is to write catchy songs that make people feel something.
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Thinking about what songs are coming next instead of just relaxing, breathing and playing from my heart. Sometimes it can get to be almost like the enemy.
