Song Quotes
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I have a song entitled "Just Ain't My Day" that is a straight country song almost. My vocals are very soulful it's a different kind of record but people's response to it is beyond powerful. Proving that good music is good music regardless of the genre.
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The multiple reinforcing cues of a good song-rhythm, melody, contour-cause music to stick in our heads. That is the reason why many ancient myths, epics, and even the Old Testament were set to music in preparation for being passed down by oral tradition across generations.
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Sometimes I will click on a random sequence of notes- not to actually use it in a song, but to see if I can find maybe a simple pattern that I can build off of.
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The problem is when you write the album, you record all the instruments, you edit the whole thing and then you have to mix it. You start to get out of touch with the songs and it becomes math.
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Everything I see and hear... I will take ideas from anyplace, anywhere, anytime, and life has become a song to me. I'm always looking for a song.
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Conservatives must avoid the siren song of schism, or all is lost.
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The first song that I had that went platinum was 'Keep Your Head Up,' which was a long time ago. Then, you get 'one-hit wonder' with that.
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If you say, 'I listen to pop,' you picture this kind of perfect, colorful, polished song. I want to have that, but when you open it, you see this gritty dark - kind of like dancing your tears away. Disguise the sadness in a pop beat.
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Lord, when the song wants to pick up and go a little faster towards the end, it's hard for me to resist.
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I don't think we should speak so much. What if we were singing a song? We split, whilst singing.
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I aim my arrangements at what will fit and colorfully frame the song in the best way possible.
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Those emotions that are really strong, the ones that inspire a song, you can hold onto that. You can let it marinate for years and keep writing about it even better than you did then.
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For example, after developing a sound similar to an elephant trumpeting, I wrote the song Elephant Talk which gave my elephant sound an appropriate place to live.
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When I sit down to write a song, there is no filter. I'm not trying to write for anyone or anything specifically. It's just trying to capture a little piece of your soul - even if it's a really ugly part.
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It's hard to say a favorite song of my father's. I listen to all his stuff; a lot of the old stuff before the '70s.
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It's important to me that there's not just one story told about our city. 'LSD' is an ode to Chicago, a song for the complicated love I have for my city.
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The hardest song to write is a protest song, a topical song with meaning.
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I'm trying to laugh uncontrollably with whoever I'm making a song with because whatever we just listened to that we just came up with is so dope. I'm chasing that feeling in the studio, not like a trend or what's hot on the radio at the moment. It just seems like the more I do that, the better I get at what I do. I'm going to keep doing that.
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During 'Torches,' I was more concerned with communicating the spirit of the song than the actual lyrics.
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I do think that some of my songs, like Take a Minute, are like the train between the two worlds. It starts out with the question of "how did Gandhi ever withstand the hunger strikes and all / he didn't do it to gain power or money as I recall," and its sweep reaches all the way to this part of the world. I think maybe I'm a translator, because I lived in both worlds and truly understand them. I understand the discontent that comes from not having. But I also understand the anxiety that comes from wealth and convenience.
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When you write a song you're more or less saying, "This is everyone. I think this is everyone." It doesn't necessarily have to be this thing where I go out and I'm like candy-striping, or becoming a therapist or something. I think that maybe, maybe I'm supposed to be a musician, because of that fact.
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Marylata [ Elton] introduced me to Hans Zimmer. Hans tapped me [to] work on songs for DreamWorks' animated features. I arranged Elton John's opening main title for The Road to El Dorado, I played guitars on Shrek for Harry Gregson-Williams and John Powell, I co-produced "I Can See Clearly Now" for Antz.
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Larry only ever wrote one song, and he wrote that with Tony Kaye, I think it was, from Yes.
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'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.
