Song Quotes
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The first song that I wrote was when I was with The Del Rios. I was like 14 years old but I was always putting my thoughts down on paper even before then because it was like an escape - a way of unleashing all the stuff.
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I never really liked Minor Threat. Actually, I kind of thought they sucked. And then Daniel came into practice one day and said, 'Oh, let's play a song it's called Minor Threat.' And I just thought, 'I don't want to play that fucking song!' And then I said, 'Yeah, I will do it.' And then we were playing it. And it's, like, grand and I ended loving this song and started listening to more of their stuff. I love them and they are great.
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Growing up in the '90s, I just loved 'Ice Ice Baby.' I knew, and still know, every single word to that song.
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Sometimes we drop in and do an acoustic set somewhere, and that's really fun to take all these insanely loud songs, and to do them quiet. It's really a sight to see... or to hear!
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Sometimes you write a song in a certain era and it's got a certain kind of significance.
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Take a deep breath, listen to your favorite song and realize everything is gonna be okay, nothing is permanent.
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When I sang the line, 'Songs about Old Ireland.Songs about being young again.I wish I was young again,' twice people cried. I saw them.
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I think I'm most proud of my family right now. I'm more into that then I've ever been. It also gives a new area to draw from in creativity with my songs.
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I think throughout the day; there are always lines or certain words, and I'll just keep notes in my phone. It might just be one or two words, and then that could inspire a whole song, lyrically.
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A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
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Music is always occurring. It is just a matter of marketing, attention, and many other factors, that determines whether people will hear these songs or not.
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As far as the bands that are reforming now, it's always nice to see old friends and hear some of those great songs, but it's just not our thing.
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Real data is messy. ...It's all very noisy out there. Very hard to spot the tune. Like a piano in the next room, it's playing your song, but unfortunately it's out of whack, some of the strings are missing, and the pianist is tone deaf and drunk- I mean, the noise! Impossible!
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I always write from rhythm first, so if I need a song fast, I have to start there. Then I just threw some electric guitar at it.
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Time can bring you down, time can bend your knees.
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If people stop being interested it's because you haven't written a good enough album. Music will always be the most powerful thing. It doesn't matter what record labels or journalists say. It's the song.
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When I write a song it's always from the point of view: makes the song the best it can be.
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I write a lot of material you've never heard that live inside my sadness. You'll hear a song that lasts six to seven minutes of just beautiful sadness. But I can't just go out on the stage to ask five thousand people to be sad with me for seven straight minutes.
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When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.
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The whole industry evolves around a great song.
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Suddenly I realized that I wanted everything to be as it was when I was younger. When you're young enough, you don't know that you live in a cheap lousy apartment. A cracked chair is nothing other than a chair. A dandelion growing out of a crack in the sidewalk outside your front door is a garden. You could believe that a song your parent was singing in the evening was the most tragic opera in the world. It never occurs to you when you are very young to need something other than what your parents have to offer you.
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If you only get one song, it has to be Bullfrog Blues
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So writing a song is much harder than doing a classical piece for me, because in a classical piece, I can just let the mood dictate what's going to happen.
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The perfect pop song is a 20th-century creation; it's not a sonnet, it's not an opera, it's something short - three and a half minutes by nature - and has this ability to travel and to defy class and economic structures.
