Songs Quotes
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I'm a big proponent of letting songs tell me what they wanna sound like.
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Your power comes from the songs.
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I just think it's good to have a big, living, breathing piece of music that's not just songs.
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I always sang Leona Lewis covers, and if you know her songs, she's not just singing your average easy song; she's going off the majority of the time.
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I always work on the songs all together up until the very end. I never mix a song and think, "Okay, now that one's done." I think that's why it feels like songs are really connected, and I like that. They're all worked on kind of like a little family.
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Love songs come in many guises and are seemingly written for many reasons – as declarations or to wound – I have written songs for all of these reasons – but ultimately the love songs exist to fill, with language, the silence between ourselves and God, to decrease the distance between the temporal and the divine.
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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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People really respond to the songs when I play them in concert. Every song comes from a different place emotionally or from a different headspace.
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Sometimes it takes us a long time to build up songs, and we really work the structures over and over and build in lots of noisy parts.
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There’s nothing submitted and nothing ready to go, but I can definitely tell you that there’s a project on the way. I just can’t tell you when it’s coming. I can tell you for sure that I will be releasing another single in the next two months. It’s one of my favorite songs that I’ve ever made. It probably is my very favorite song that I’ve ever made, nothing against “My Love.”
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With the Republicans controlling both houses of Congress, this is the Eisenhower-era revisited. It's ostrich time, where people are looking for comfort rather than challenge in their art. It's a lot easier to listen to Barry Manilow murder what are actually good songs from the '50s than to consider what [left-leaning songwriter] Steve Earle has to say.
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I started playing the bass because nobody else would play the bass, and then I got bumped up into singing because no one else really wanted to sing. So I learned how to sing and I wrote the songs, so I tended to get the most attention.
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I wanted to hear the songs in the way that I had written them, which was very basic. All I wanted was drums and another guitar, and I was just going to sing.
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I've always written songs for the sake of my own sanity and expression.
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My songs are really never titled. Sometimes I call it one thing. then I change it.
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I'm always proud and pleased when people do my songs. It gives me pleasure that they even attempt them, because a lot of my songs aren't that doable.
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My music chart rankings need to be good so that I can have the money to produce another album. I would like to hear that I am a trustworthy artist, that just hearing my name makes people want to listen to all of my other songs.
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Artists have been getting ripped off since the beginning of time, probably. But on the other hand, it might be nice to write songs. We certainly could.
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I just write songs whenever I feel like it, whenever they come to me.
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Every time I felt the pain coming on I'd go downstairs and hammer out an idea. After a few months I started to take a look at what I was making, I had for the first time in my life written a large grip of songs completely alone and without any expectations or plans of what they would be for.
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For some musicians it becomes self-reflexive to think, "I have to write some of my kind of songs now."
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For every Foo Fighters record, we've had two or three beautiful, acoustic-based songs, but they never usually make their way to the record, because we want to make rock records.
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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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This music has been around since before the beard on Moses. I happed to do it very well and I happen to have a lot of groovy songs that I know people are going to dig. I know more about it than you do.
