Songwriting Quotes
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What I strive to do with songwriting is be really honest, authentic and try to be open and share that with people. I choose that over trying to be clever, poetic, or lyrical.
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Great classic music that I've been turned on to has not only inspired and influenced me, but it has had an effect on my songwriting.
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Songwriting is a great release. It helps me work through things.
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I always thought of myself as the piano player in the band. That, I suppose, I'm confident about, and I guess my songwriting developed as I went along and I got a certain amount of confidence in that. The songs are like my kids, I'm proud of all of them for one reason or another.
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Wherever inspiration comes from, it's like I'll hear a melody and chords, almost a rough structure of the whole thing [song]. I'll just hear it and chase what's in my head. The rest comes from jamming with band, improvising, seeing what comes up as well. I'll come up with it off the top of my head, catch it, sing and hum, and if something is missing, just jam, and that's the [songwriting] process.
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I try to keep my eyes open as much as I can, like there are so many things, everyday is so different from each others and so the еще open Ты can be the еще inspiration Ты can get for song-writing.
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Whether I was in my body or out of my body as I wrote it I know not. God knows.
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Making vocal hooks is my favorite thing to do. That's what I love about songwriting - making catchy stuff.
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Everybody wants to write a hit song, but in Nashville people want to write the best song, which was my original intention as a singer/songwriter. ... I left because I could no longer make records that sounded less and less like me. I tried to please people instead of believing in my own strength, until the only thing I could do was walk away.
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Traditional songwriting, to us, is where the experimental nature comes in. We're all involved with so much outside activity with really hardcore, experimental music-making.
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I am really heavy into songwriting.
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This little four-string songwriting tool started changing the way I brought songs to the group.
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She knew the intensity of adolescence, and knew no cure for it except growing up. And then one has age and experience, and mourns the loss of intensity. Maybe it's why musicians and mathmaticians are said to peak young-poetry needs the fire of an unbounded universe.
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I started just concentrating on songwriting when I was abut 20; I'd been in rock bands six or seven years, kinda got that out of my system, I said, "ok, you ain't gonna be a rock star, you don't look like a rock star, it probably ain't gonna happen. So what you should do is write songs and maybe other people will do your songs."
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I don't think people care about the mechanics of songwriting.
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Those are the magical songwriting moments, when you have a partner that clicks like that. That's a dream come true, man.
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I see songwriting as having to do with experience, and the more you've experienced, the better it is. But it has to be tempered, and you just must let your imagination run.
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I don't want you to play me a riff that's going to impress Joe Satriani; give me a riff that makes a kid want to go out and buy a guitar and learn to play.
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I enjoy the song writing process more than anything. It's what I like the most, just sitting in my room with guitar or at the piano or something. Just making something up, something that's not there, that suddenly is there.
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I love song writing, so I'm always happy to write for other musicians.
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Songwriting is the other weight on the opposite side of the scale from touring. They balance me out creatively.
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I knew I could make money from songwriting, so how much and when was not really the question.
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I sort of have various sort of theories when people ask me about songwriting because it is a mystery. You don't really know. Sometimes you can do it and sometimes you can't. It's really peculiar.
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I think a lot of my interest in history now isn't so much in places and names and texts and public figures, but more in examining all the nuances and idiosyncrasies of particular stories of everyday people. And if that doesn't happen, then I usually transplant myself and my own stories to a particular historical event. Which is why you'll see me, the first person pronoun, interacting in a song about Carl Sandburg, or you'll find my [sic] interacting with Saul Bellow. It's sort of a re-rendering of history and making it my own.
