One of my side strange abilities is to hear a good song, no matter how it's being performed. Even if you get a bad performance, I can still hear that there's a good song.
Robert Burns enriched Scottish song with his genius and is mainly responsible for the rich treasure house of song that we enjoy today. He collected folk songs, retained the melodic line, kept what words were usable and rewrote the rest. He didn't claim ownership.
The goal is to try and make the perfect song. Which of course will never happen.
I haven't always been into fitness. But I noticed that when I'd be on stage playing a show, I could hardly make it through the fifth song without having to take a breather.
When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.
In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.
There's two facets to writing a song. There's you sitting in your room writing the sentiments of the song; the lyrics, the melody and the changes, and then there's the part where you go into the studio and you put clothing on it.
I never want to pick an easy song. I want to continue to challenge myself vocally.
A song's lyrics can't be held culprit for the overall change in society.
But the greatest thing about music is putting it out there for people to figure out. You want the listener to find the song on their own. If you give too much away, it takes away from the imagination.
Sometimes I feel like I'm taking on a role when I'm writing a song, and it doesn't always have to be true. I'm not sitting in my room crying with my guitar, writing a slow solo about a depressing breakup; that's not me.
If I like a song, I'll just keep playing it, and it never gets old.
My dad and I played music. He teaches me a song or two every time I'm home.
'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.
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.
The band set up in January and just started rehearsing. If there was a song, we'd just rehearse it as a band, and it would get arranged as a band, and it got changed around a lot.
'Basmati Blues' deals with a great social issue, GMOs, but it's told through love and song and dance.
I'm very soulful. I grew up singing in church. When I sing a song, I like to feel what I'm singing.
I like singing in harmony - I like not having to sing every song.
I've seen people that get onstage and sing while they have tears running down their face - I can't do that. When I cry, it starts like in my throat, so when I have something that's really emotional, sometimes if I access that too much, I can't finish the song.
It's so hard to be the girl in a country song, so we're speaking up.
I love when people get songs wrong. I love when people take something from a song that's totally not what I intended!
You can really walk around a song and completely, if it's a good song, look at it from a lot of different angles. Johnny Cash with Rick Rubin illustrated that perfectly.
In an attempt to amuse my friends and family, I would do impressions of Dean Martin, singing Everybody Loves Somebody. I secretly really enjoyed singing the song.
Like an opera singer, I am able to sing out my song in paint.
I wrote a song with Kara DioGuardi called 'What If,' and it's a really beautiful song. It's kind of like a rock ballad. There's a lot of guitars and drums in it.
When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song.
I never write from concept. The beat is the beginning, and then I fill in the rest of the song into what it should be.
There's not one Tin Pan Alley song on my record.
Jerusalem is a festival and a lamentation. Its song is a sigh across the ages, a delicate, robust, mournful psalm at the great junction of spiritual cultures.
We played a gig and we had a song that was offensive to people of the Jewish persuasion, and we led off with it, and they were offended by it, and that was that.
When it comes to music, it's my clothes, it's my guitar, it's my voice, it's my song.
Morrissey wrote to me and said, I have a song for you and if we release it as a single, you'll be on the charts for the first time since 1972, I said, what time, where?
I'm totally convinced I can write the perfect pop song.
Yeah, but on the U.S Tour we threw a new song into the set almost every night. Ofcourse, you can't do too many new songs every night as they've never heard it.
It's different for every song. But for 'Say Something,' I think it was Chad who had an idea on guitar, and I had an idea on piano for different songs, and we just married them together. We bounce things off each other constantly and kind of massage all these ideas into a three and a half minute pop song.
