Song Quotes
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Honeymoons are great, but they don't last. And I think the same is true with success on the screen - today, I am all over the place; tomorrow, I may be gone - I may have to make room for someone else. So why make a big song and dance about it all?
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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 ages serve and worship the same God, gather under the same gospel and add to the collective song that praises the faithfulness of God as each generation shares in his promises to us.
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I like work, I like song writing, and I like the history of Atlantic Records. They've sat in the studio with so many artists - like Ray Charles, for example - and created something amazing. As a label, they seem to be great at growing bands rather than telling you how to do it.
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While I'm singing complete gibberish to my son when he's in his crib, I'll occasionally think, 'This song I'm making up is actually pretty good.'
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I just like a good song, it doesn't matter. I mean, I am into girl groups and stuff like that. I listen to anything.
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The cypress stood up like a churchThat night we felt our love would hold,And saintly moonlight seemed to searchAnd wash the whole world clean as gold;The olives crystallized the vales'Broad slopes until the hills grew strong:The fireflies and the nightingalesThrobbed each to either, flame and song.The nightingales, the nightingales.
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I'm not interested in possible complexities. I regard song structure as a graph paper.
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Of course, the kids who had never heard of a person called Ben E. King were then aware of the name associated with the song. That gave a tremendous lift to me as an artist.
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God knows why - no pun intended - but every time I write a song, I feel a need to touch on religion.
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I remember when I was 5 or 6 years old, gospel music felt familiar, like I had heard it in the womb or something. A lot of those old gospel songs still give me that feeling, that it's older than time and there's actually music that can tap into a universal subconscious, or whatever word you want to put on it.
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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.
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I knew doing a rap-country song like 'Whiskey Do My Talkin'' was a good move, ... It totally opened the urban side of honky tonk up to us, not to mention there being plenty of good old fashioned amped up country on this one.
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I remember Elvis as a young man hanging around the Sun Studios. Even then, I knew this kid had a tremendous talent. He was a dynamic young boy. His phraseology, his way of looking at a song, was as unique as Sinatra's. I was a tremendous fan, and had Elvis lived, there would have been no end to his inventiveness.
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There's probably a couple someones that are gonna hear the songs and go, 'I think that might have been about me,' or, 'I know it's about me.' I do play that pretty close to the vest. I don't think I'm ever gonna write a song and drop somebody's name in it.
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I thought it was a very cute song. I just picked them out because I liked them. I wasn't trying to make any statements.
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I started out in the 1940s, singing around the clubs of Cleveland, Ohio, where I grew up. There was a woman in showbusiness, a contortion dancer called Estelle 'Caldonia' Young - she was named after the song Caledonia Caledonia.
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Without a song the day would never end Without a song the road would never bend When things go wrong a man ain't got a friend Without a song
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When you find a song that you love, you just have to do it - why would I try to match it? When I wrote more of the songs in the '90s - 'Nick of Time' and other songs I was surprised I came up with - it was because nobody else was saying what I wanted to say.
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Doing something that you love regardless when it's a blockbuster movie or you're writing a pop song or trying shamelessly to succeed in something is not selling out. I think that's actually fine, and I would encourage that all the time.
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I always communicate musically. I want my band not only to learn the form and feel of the song by ear, like I do, but also have the freedom to contribute.
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A lot of writing I do on tour. I do a lot on airplanes. At home, I write a lot, obviously. When I write a song, what I usually do is work the lyric out first from some basic idea that I had, and then I get an acoustic guitar and I sit by the tape recorder and I try to bang it out as it comes.
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I never want to record something that I'm not proud of just because I think it might be a big hit. There's no positive about that because if you record a song you hate and it's a big hit, then you're singing a song every night that you hate. And if you record a song that you hate and it isn't a hit, then you sold out for no reason.
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My favourite piece of music is actually 'The Dark Side Of The Moon' as a whole. For me, it's the most perfect and brilliant example of rock song writing.
