Song Quotes
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The most important ingredient to making a song work is the magic. You've got a melody, you've got words, but on the more successful songs, there's a sort of magic glow that just happens and you can feel it happening. It just makes the songs sort of roll out.
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I tried to make a 'When Doves Cry' in a rap version. I used a lot of instruments and I broke it down like I thought Prince would do, and that's the song I sent to Big Boi.
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I sing the best when I'm really in my voice. It's kind of like I'm meditating but I sort of imagine my voice as a physical thing. I see colours, I feel it moving out of me and I try to tap into images that I was tapping into when I was writing the song.
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It was like those songs I'd heard as a child, each so familiar, and all mine. When i got older and realized the words were sad, the stories tragic, it didn't make me love them any less. By then they were already part of me, woven into my conciousness & memory
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Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
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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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I only performed a song so I could not write an essay. I just enjoyed being around bands, and around musicians, and, I didn't want to be the girl who followed the band around. I love singing, I love performing, but it's never been this goal.
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I don't listen to the radio, cause I don't have a driver's license. But if I'm in L.A. or somewhere where we have to rent a car, I'll hear my songs. Sometimes I hear them when I'm in stores, and I'm still like a little kid in a candy shop: 'Oh my God, that's my song!' I don't know how that could ever get old.
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Whenever I've chosen a song because it's clever, it's always turned out to be a mistake.
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What is good is what it's going to lead to, like the song "Jai Ho." If good numbers are going to come in the future, it bodes well for a lot of things. But then, who's going to maintain that. That's the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to.
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I also remember a line from a song by Smog [Bill Callahan], which seems to describe the experience of a town-dweller moving to the country: "I was raised in a pit of snakes/Blink your eyes - I was raised on cake."
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I don't mind Ed Sheeran, but I wouldn't want to be compared to a guy that builds his song around a guitar, since we do not have a guitar in our band.
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You don't have to be as good a writer to write a song; it's a very different process to writing straight prose. To learn how to write prose takes a lot of years of practice.
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I want a long-lasting career. I want to build up a fan base that will come to my shows and love me no matter if I have a song on the radio or not.
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-music's powerIs little felt in sunlit hour;But hear its voice when hopes depart,Like swallows, flying from the heartOn which the summer's late declineHas set a sadness and a sign;. . . . . .How deeply will the spirit feelThe lute, the song's sweet-voiced appeal;And how the heart drink in their sighsAs echoes they from Paradise.
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A great song is something that you go back to in twenty years and it's still so influential to you.
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In that little practice room, no, I had no idea what would come of this little song. But it changed everything for us – it cemented the deal with Geffen – I could sense that everyone was much nicer to us after they heard that song!
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I got hit up for a tampon commercial and so I asked [JD and Jo] if they had anything. Jo sent that over and I was like, "I love this track. Oh my god. It's so upbeat. It's so positive. It would be so great for a tampon commercial." That commercial never came through, so then I just had it. I was like, "That would be great for a Hillary [Clinton] song." I think it's so funny that it could be a tampon commercial.
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It's always good to go from a heavy song to a softer one. It helps having the attention of the audience for the whole show - three hours of the same songs for the whole show is boring.
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I think it's kind of difficult to write a good Christmas song because you have a narrow framework of references that you have to work within, and at the same time you want to do something that's personally original and hopefully somewhat unique.
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A timeless pop song is the hardest thing to do as a songwriter.
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In the media, a reviewer has his personal vision but it's passed along to a million readers or whatever. He might think that this particular song sounds like Jo Blow. Or like a Bo Diddley record that he heard six years ago. But the artist who made the record may never have even heard the Bo Diddley song. We all respond differently.
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One week you may be an actor, and the next week you had to be nimble enough to be a TV host. And the week after that, you might have to do some stand-up or be in an improv company or write and sing a song somewhere.
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Things are very simple to be honest: when we arrive at the studio for a session, we just get going and let it go naturally and improvise as we go along, this is why it is always so magical when we go into a studio. It is just so natural for us to put a song together.
