Song Quotes
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I was thinking of the Four Seasons, Frankie Valli and the Four Seasons, and when I was thinking "Uptown Girl!" I was trying to sing like Frankie Valli. They had a song called "Ragdoll," which was about a poor girl and a rich guy. So I just flipped it around and made it about a rich girl and a poor guy.
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I write a lot of my music, but not all of it. I have always subscribed to the 'best song wins' theory when making an album.
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We will no longer surrender this country or its people to the false song of globalism.
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I was in a movie with Angelina Jolie called 'Life Or Something Like It' where I played her fiance, and I have a song in there.
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I find it quite boring when you're listening to radio, and it's the same kind of voice that's on every song on the radio. You can't really tell a lot about that singer as a storyteller and about the singer from what they're singing.
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Layne Thomas StaleyThe songs are about things that we were thinking and we wrote 'em down, and when you listen to 'em, whatever you think it's about... THAT'S what it's about!
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There's a little book I'm thinking of writing - 'Swan Song' is what I shall call it. The song of the dying. And my book will be incense burnt at the deathbed of this society, damned with the damnation of its own impotence.
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I try not to obsess about recording. I'm definitely the one who will leave all the mistakes-to have that balance between what's undone and done. I try to move on to the next thing. I have friends who have been working on the same song for five, six years. They just won't let the songs go.
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I have been listening a lot to The Carpenters and Neil Diamond, Elton John, and thinking, like, 'God, it'd be great to write a sort of subversive, alternative ballad,' like Lou Reed does so well with 'Perfect Day.' And I really loved 'Video Games' - at the time, it hadn't really got as big, but it's a classic song; you can't deny it.
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'Basmati Blues' deals with a great social issue, GMOs, but it's told through love and song and dance.
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Music is made by individuals. Some artists will be very politically overt in their songs, some will be more subtle. You have to be true to yourself, true to your nature.
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There's just something so amazing about being anywhere, and some music starts playing, and you just hold up your phone and can find out what it is. You never again have to say, 'That's a great song! Who is it by?'
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To me, 'Blackberry Way' stands up as a song that could be sung in any era, really. We do it with the new doing all sort of fanfare things in it and it works really well. It goes down great with audiences.
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There are other kinds of emotional pain that emerge from our own mistaken thinking. As we surrender that pain, we are inviting into our thought system a guide who will lead us to different thoughts. It's like the song "Amazing Grace": I was blind and now I see.
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In Hungary all native music, in its origin, is divided naturally into melody destined for song or melody for the dance.
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Nothing is more frustrating to me than putting a song on an album and regret putting it on there. I'm excited that there are no songs on 'Tailgates & Tanlines' that I'm iffy about.
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I don't think radio is selling records like they used to. They'd hawk the song and hawk the artist and you'd get so excited, you'd stop your car and go into the nearest record store.
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In my opinion, that's one of the hardest things to do in songwriting: crafting a song that speaks to you but, at its core, is a simple concept.
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'Teenage Dream' was the most difficult song I've ever been a part of. We wrote five different versions of it. We couldn't get the lyrics right. Max Martin and Dr. Luke wrote most of the melody, and then Katy Perry and I were responsible for getting the lyrics right.
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All in all it was my intention to hold both the black and the white clientele by voicing the different kinds of songs in their customary tongues.
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If the song was upbeat, we'd get out a funky Harry Connick, Jr. album, some Louis Prima big band, or a Bob Wills swing record for inspiration and swing for the fence, hoping to get that 'soundtrack to your life' vibe. And if it was a slow song, we'd go the other way and really make it worshipful.
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If you play "I Don't Want To Know" by Fleetwood Mac loud enough -- you can hear Lindsey Buckingham's fingers sliding down the strings of his acoustic guitar. ...And we were convinced that this was the definitive illustration of what we both loved about music; we loved hearing the INSIDE of a song.
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You get committed with what you put in songs. It made me wary of who and what I include, because that's there forever.
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We have a history in country music of writing about the darker side of things - maybe not as much in modern times, but there's a lot of cheating and self-deprecation. We sort it out in song, in country music, as a genre.
